Art of 1 half of the 19th century. Art of the first half of the XIX century

Painting of the first half of the XIX century The first half of the XIX century is a bright page in the culture of Russia. All directions are painting, literature, architecture, sculpture, the theater of this era is marked by the whole constellation of names that brought world fame to Russian art.

Painting in the first half of the XIX century had greater importance in society. The development of a national self-consciousness caused by the victory in the Patriotic War of 1812, raised the interest of the people to national culture and history, to domestic talents. As a result, during the first quarter century, public organizations emerged for the first time, the main task of which was the development of the arts: the free society of lovers of literature, sciences and arts, the society of the promotion of artists. Special magazines appeared, the first attempts of collecting and showing Russian art were made. A small private "Russian Museum" P. Swinine acquired fame, and in the Imperial Hermitage in 1825 a Russian gallery was created. In the practice of the Academy of Arts since the beginning of the century, periodic exhibitions entered, which attracted many visitors. At the same time, there was a great achievement to admission to these exhibitions on certain days of a simple people.

At the very beginning of the XIX century, classicism played a significant role in painting. However, by the 1830s, this direction gradually loses its social importance, and more and more turns into a system of formal canons and traditions. The novelty of the views brought romanticism into Russian art - the European flow underway at the turn of the XVIII XIX centuries. One of the main postulates of romanticism, the opposite classicism, the approval of the personality of a person, his thoughts and worldview as a major value in art. The consolidation of a person's right to personal independence gave rise to a special interest in his inner world, and at the same time he intended freedom of artist's creativity. In Russia, romanticism acquired his peculiarity: at the beginning of the century he had a heroic color, and during the years of the Nikolaev reaction - tragic. Having its own feature, the knowledge of a particular person, romanticism became the basis for the subsequent origin and the formation of a realistic direction approved in art in the second half of the XIX century. A characteristic feature of realism was to appeal to the topic of modern national life, approval of the new topics in the art of the life of the peasants. Here, first of all, it is necessary to note the name of the artist A.G. Venetianova. The most fully realistic discoveries of the first half of the 19th century were reflected in the e years in the work of P.A. Fedotova.

In the first half of the XIX century in the Russian art of the first half of the XIX century, portrait painting is characterized. The Russian portrait is the genre of painting, which most directly associated artists with society, with outstanding contemporaries. Portrait painting flourishing is associated with the search for new principles of artistic creativity and the spread of romanticism in Russia. Romanticism is inherent in the portrait of Artists O.A. Kiprensky, V.A.Tropinina, KP Brullova. The most famous portraits of this time - Kiprensky O.A. and Tropinin V.A. Kiprensky O.A. "Self-portrait" Tropinin V.A. "Self-portrait", 1846

Kiprensky O.A. (). Special page in Russian painting - female portraits of the artist. Each of his portraits captures penetration into the spiritual depths of the image, the unique originality of the appearance, magnificent performing skills. Portraits E.S. received the greatest fame. Avdulina (1822), E.A. TV (1828), D.N. Tail (1814). One of the vertices of creativity of Ores Adamovich Portrait of E.P. Rostopchina (1809). Portrait of E.S. Avduchina Portrait of E.A.Telosovoy Portrait of D.N.Hvostovaya Portrait of E.P.ROtopchina

The famous portrait of the poet A.S. Pushkin (one of the best lifetimes) Kiprensky brushes. The poet himself wrote about this picture: "Himself, as in the mirror, I see. But this mirror flatters me. " Portrait of the Life-Gusar Colonel E.V. Dodavydova (1809). The image of Davydov, created by the Cyprosen, appears to the audience a symbol of the era of wars with Napoleon, on the eve of the Patriotic War of 1812.

Tropinin Vasily Andreevich (). Son of serf, serfs until 1823. The ability to draw painting was manifested in childhood, he studied at the Academy of Arts in St. Petersburg, showed brilliant success in their studies, received a silver and gold medal. But Barin sent him to the Ukrainian estate, where the artist lived for about 20 years, engaged in painting, built and painted the church. Tropinin V.A. He wrote a huge number of portraits, and not only well-known and famous people, but also representatives from the people. Special attention is paid by the lifetime portraits of the Great Poet A.S. Pushkin and the Hero of the Patriotic War of 1812, I.P. Bagrition. "Portrait of Bagration P.I." "Portrait of A.S. Pushkin", 1827

In portraits of contemporaries, people from the people, the artist shows the inner beauty of a person. So, in the painting "Lacy" Tropinin V.A. It was possible to find a rare harmony of physical and moral beauty, social certainty of the type of girl from the people and the poetry of the image. The "la view" is characteristic of the Russian painting of the expert pore: the traditions of the XVIII century are intertwined here with the signs of the new era. "Girl with a pot of roses", 1820 "Guitarist", 1823 "Laneby", 1823 "GOLDER", 1826

Karl Pavlovich Bullelov () was one of the brightest, and at the same time a contradictory artist in Russian painting of the XIX century. Bryullov had a bright talent and independently of thoughts. Brought up in the family of the artist, since childhood was enthusiastic with painting, at the age of 10 he went to study at the Academy of Arts. In 1822, Karl Brullov went to Rome to study the art of the Masters of the Renaissance. "Self-portrait", 1834 "Self-portrait", 1848 "Portrait of the Countess Yu. P. Samoilova with the reception of the daughter of Amacyilia Pacini" "Portrait of Alexei Tolstoy" ", 1832

In the Italian period of creativity, Bullels paid a significant place to portrait painting, wrote the famous painting-portrait "Horseman". In the picture "Italian Morning", he turned not to historical and mythological plots, but to the everyday scene of vintage. In 1836, Karl Pavlovich Bullylov becomes a professor of the St. Petersburg Academy of Arts, teaches at the Academy, during this period there are also about 80 portraits. "Clearing Svetlana", 1836 "Horseman", 1832 "Italian midday", 1832 "Portrait of sisters of Shishmaryov, 1839

The highest in the Academy was considered a historic genre. The best works of this genre were the work of K.P. Brullov, including the "Last Day Pompeii". This picture is a bright example of academic art, but the elements of romanticism are already visible.

The history of creating a picture "Last Day Pompeii". In 1827, at one of the techniques, the artist meets the Countess Julia Pavlovna Samoylova, who became an artistic ideal for him, closest friend and love. Together with her, Karl departs to Italy to inspect the ruins of the ancient cities of Pompeii and Herkulanum, who died as a result of the eruption of the volcano in 79 N. e. An impressive description of the eyewitness of the tragedy of the Roman writer Plinia Jr., Brylov understood that he found the topic for his next work. For three years, the artist collected the material in archaeological museums and on excavations so that each items written on the canvas corresponded to the era. All work on the picture lasted six years. In the process of working on the picture, many sketches were made, sketches, etudes, and the composition itself was rebuilt several times. When in the middle of 1833, the work was presented to the general public, it caused an explosion of delight and worship before the artist. Earlier, no painting of the Russian school of painting did not fall out such European glory. In 1834, at exhibitions in Milan and Paris, the success of the picture was awesome. In Italy, Bryullov is elected by an honorary member of several academies of the arts, and in Paris he was awarded the Golden Medal. The success of the picture predetermined not only a well-found plot that answers the romantic consciousness of the era, but also how Brohlov divides the crowd of dying people to local groups, each of which illustrates one or another affect - love, self-sacrifice, despair, greed. Sponling all around the power, invading the harmony of human being, caused the thought of the crisis of illusions from contemporaries about the crisis of illusions, about the impossible hopes. This canvas brought the artist worldwide glory. Customer painting - Anatoly Demidov - presented her king Nicholas I.

Ivanov Alexander Andreevich (GG.) A special place in the historic genre occupies the monumental canvas A.A.Ivanov "The phenomenon of Christ to the people", over which he worked for 20 years. Performed in compliance with the main norms of classical painting, it combines ideals of romanticism and realism. The main idea of \u200b\u200bthe picture is confidence in the need to moral renewal of people.

The history of creating a picture "The phenomenon of Christ to the people." In 1833 (from 1830 to 1858, the artist lived in Italy) Alexander Andreevich arose a new monumental picture. This world-famous picture has become the apogee of his work, it revealed to the full mighty talent of the artist. Work on the picture took all thoughts and time of the artist; More than three hundred preparatory etudes were performed from nature and album sketches, many of which became independent works. During the work on the picture of Ivanov, reread literature on history, philosophy, religious teachings, several times rethought the idea and the plot. In Italy, the artist was in a serious material situation. Ivanov lived on the benefits that he managed to climb from different institutions or patrons. He saved on every little thing. Almost all the money that he managed to get, Alexander Andreyevich spent on the maintenance of a huge workshop, the purchase of art materials and payment of simulators. After several breaks in the work on the picture, the artist still finished it by 1857. But the picture "The phenomenon of Christ to the people", shown by the artist after returning in 1857 to Russia first in the Winter Palace, then at the Academy of Arts, was greeted quite restrained.

About the portrait skill of the artist Ivanova A.A. The portrait of N.V. Hogola written in 1841, with whom the painter tied a close friendship. The picture of the "Italian" period of creativity of the painter "The phenomenon of Christ Mary Magdalene after the resurrection", over which he worked from 1834 to 1836. This canvas was sent to Petersburg, where he received positive feedback. The picture was placed in the Art Gallery of the Hermitage. The Council of the Academy appreciated the work of the artist, which strictly corresponded to the classic canons, and assigned him the title of academician.

Self-portrait, 1848 Fedotov Pavel Andreevich (). The founder of critical realism in Russian painting. In its genre paintings, major social problems expressed. In years I studied in the first Moscow Cadet Corps. Thanks to his phenomenal memory, Paul studied well, science was given to him easily. Already then, in the early years of study, Fedotov showed a thrust for painting. Over time, drawing has grown into passionate passion. Fedotov's first works were associated with a military theme. He enters the Academy of Arts. He did not fully accept the faith of everything that was taught at the Academy, which led to the formation of his own look at the painting other than the frozen canons of Academism. Coming into resignation, the artist created talented works of social directions, showing the critical position of the author in relation to reality.

"Fresh cavalier", 1846 "Personal Bride", 1847 The first work of the artist Fedotova P.A., written by oil - "Fresh Cavalier" - refers to 1846. I liked this genre painting and academic professors, and a democratic viewer. A year later, Fedotov wrote another painting "Disassembly of the Bride." With the direct participation of Bryullov, these two paintings were adopted at the academic exhibition of 1847.

"Major's Watchtime", 1851 For the later picture of the "Watchtime of Major", the Council of the Academy awarded Pavel Andreevich the title of Academician. Portraits, of which "Portrait of N. Zhdanovich stand out", written in 1849, occupied an important place in the work of Fedotov. "Portrait of N. Zhdanovich for piano", 1849

Venetsianov Alexey Gavrilovich (), the investigator of the domestic household genre (genre painting). His paintings poeticized the life of a simple Russian people were dedicated to the daily work and everyday life of the peasants. "Self-portrait", 1811 was born in Moscow, in the merchant family. He studied in a private boarding house, served in the Department of Mail, from childhood he was fond of painting. He was a student of the famous artist V.L. Borovikovsky. In 1811, A.G.Vetsianov was elected academician St. Petersburg Academy of Arts.

In 1818, Venetsianov leaves civil service, marries and leaves with his family to the estate of Safonkovo, who belonged to his new wife. It was here that, away from the city bustle of Alexey Gavrilovich finds the main theme of his work. Venetsianova opens an inexhaustible source of inspiration, a variety of plots and images. The huge contribution of Alexei Gavrilovich Venetsianov to the development of Russian painting is the creation of their school, its method. From private portraits of peasants, the artist comes to magnificent art compositions in which a folk life, her aura, finds a multi-time expression for her. In 1822, the work of the artist A.G.Vetecianova was represented by the emperor. For her, the painter received a thousand rubles, and the work itself was placed in the Diamond Room of the Winter Palace. The picture "Purification of beets" was called. This canvas became a kind of "turning point" in Russian painting, the emergence of a new direction in the Russian art of the household genre. It was Venetsianov who achieved the popularity of this direction of painting in the people.

In the 1820s, Alexey Gavrilovich wrote several small pictures, the so-called "peasant portraits", depicting the girls with the Cride of Milk, then with oblique, with beets, with cornflowers, then a boy with an ax or fell asleep under the tree, then an old man or an old woman. "Girl in the scarf", 1810 Zakharka "Girl with a Cride of Milk", 1824 a peasant with cornflowers.

"On arable land. Spring." 1820 in the harvest. Summer. It should be noted the peculiarity of the images of the peasant, characteristic of many paintings by the artist: their magty, calm dignity, a business expression of individuals. The prototype of the peasant for the painting "on arable land. Spring "served as the wife of the artist. She is a young, slim woman in a long sundress leading on the field of two horses. No less known picture "On the harvest. Summer". This work is distinguished by harmony of artistic images: Venetianov's love for the labor peasant people allowed to portray in it true beauty.

Check knowledge: 1. What art directions coexisted in painting in the first half of the XIX century: a) classicism, sentimentalism, realism b) realism, abstractionism, sentimentalism c) classicism, romanticism, realism 2. Which artists wrote a portrait of A.S. Pushkin which poet said: "Himself, as in the mirror, I see. But this mirror flatter me ": a) Cyprinen b) Tropinin d) Venetsians 3. Which of the artists of the first half of the XIX century is the twin priest of the domestic household genre in painting: a) Bullel b) Venetsians d) Fedotov 4. Which of the artists of the first half of the XIX A century is the founder of critical realism in Russian painting: a) Tropinin b) Fedotov c) Ivanov A.A.

Answers: 1.In) Classicism, Romanticism, Realism 2.A) Cyprinen 3.B) Venetian 4.B) Fedotov 5.K.P. Bryullov "Last Day Pompeii" 6.A.G.Vetsianov "On Pashnea. Spring "7.p.A. Fedotov "Fresh Cavalier" 8.A.A. Ivanov "The Phenomenon of Christ People" 9.V.A. Tropinin "Lacy" 10. O.A. Kiprensky "Portrait of A.S. Pushkin "

Russian artistic culture in the first half of the XIX century reached high success. It was at this time that Pushkin, Gogol, Lermontov, Griboedov, Zhukovsky, Wings were created. This rapid flowering of artistic culture was associated with the rise of the national identity of the advanced circles of Russian society during the Patriotic War of 1812. The struggle for the liberation of the Motherland from a foreign intervention, which caused a wave of high patriotic feelings, could not but affect the phenomena of Russian art.

The advanced Russian ideology of this time was under the direct influence of the Patriotic War of 1812 and the noble revolutionary movement, which took place in the Decembrists program.
The Patriotic War is extremely highly raised folk identity, a sense of patriotism and national pride. The people's character of war and the patriotic exploits of ordinary Russian people for a long time chained the attention of the advanced public of Russia and caused a kind of reassessment of aesthetic values: folk images and national stories occupied an extremely significant place in Russian art, incommensurable with the episodic role they played in the work of most masters. XVIII century. Appeal to the people poured new forces to Russian artistic culture. Advanced creative directions were relied on the circle of ideas that nominated the noble revolutionary thought.

The criticism of that time pointed to the "powerful direction of modern genius to the nationality" in all areas of art. "Nature" became the central problem of the advanced Russian culture of the twentieth and thirties of the last century. Even reactionary publicists were trying to take advantage of the nation, including him in the official formula of government policy ("Orthodoxy, autocracy, nationality"). As opposed to the official interpretation of the nationality in advanced artistic circles, there was a completely different understanding, formulated by one of the progressive theorists of art at the beginning of the thirties: "Immediately under the nationality, the patriotic animation of graceful arts, which, feeding his native impressions and memories, reflects his native gracious in his works The sky, the native holy land, native precious legends, native customs and morals, native life, native glory, native greatness. "

The first half of the 19th century is a bright page in the culture of Russia. All directions are literature, architecture, painting of this era are marked by the whole constellation of names that brought world fame to Russian art. In the XVIII century in Russian painting dominated the style of classicism. A significant role is classicism played at the very beginning of the XIX century. However, by the 1830s, this direction gradually loses its social importance, and more and more turns into a system of formal canons and traditions. Such traditional painting becomes cold, official art supported by the controlled St. Petersburg Academy of Arts. Subsequently the concept of "Academism" They began to consume to designate the oblique, torn off from the life of art.

The novelty of the views brought to Russian art romanticism- The European flow underway at the turn of the XVIII - XIX centuries. One of the main postulates of romanticism, opposite classicism, - approval of the personality of man, his thoughts and worldview as the main value in art. The consolidation of a person's right to personal independence gave rise to a special interest in his inner world, and at the same time he intended freedom of artist's creativity. In Russia, romanticism acquired its feature: at the beginning of the century he had heroic color, and during the years of the Nikolaev reaction - tragic. At the same time, romanticism in Russia has always been a form of artistic thinking, close to the spirit of revolutionary and winsted sentiments.

Having its own feature, the knowledge of a particular person, romanticism became the basis for subsequent origin and formation of realistic directionAscertaining in art in the second half of the 19th century. A characteristic feature of realism was to appeal to the theme of modern national life, the approval of the new theme in the art - the life of the peasants. Here, first of all, it is necessary to note the name of the artist A.G. Venetianova. The most fully realistic discoveries of the first half of the 19th century were reflected in the 1840s in the work of P.A. Fedotova.

In general, cultural the life of this period was ambiguous and diverse: Some prevailing trends in art were replaced by others. Therefore, researchers with a more detailed consideration of the art of the first half of the XIX century are usually divided into two periods - the first and second quarter of century. However, it is worth noting that this separation is conditional. In addition, it is not necessary to talk about classicism, romance and realism in its pure form during this period: their distinction, both chronologically, and on features is not absolute.

Painting in the first half of the XIX century has acquired much greater importance in the life of society than it was in the XVIII century. The development of a national self-consciousness caused by the victory in the Patriotic War of 1812, raised the interest of the people to national culture and history, to domestic talents. As a result, during the first quarter century, public organizations emerged for the first time, the main task of which was the development of arts. Among these organizations were such as Filter society lovers of literature, sciences and arts, society for the promotion of artists. Special magazines appeared, the first attempts of collecting and showing Russian art were made. Thus, a small private "Russian Museum" P. Svignina acquired in the educated circles, and a Russian gallery was created in the imperial Hermitage in 1825. In the practice of the Academy of Arts since the beginning of the century, periodic exhibitions entered, which attracted many visitors. At the same time, a great achievement was tolerance for these exhibitions on certain days of a simple people, which caused, however, the objections of some journal critics.

Outstanding achievements in the Russian art of the early 19th century characterized portrait painting. A russian portrait throughout the century will be the genre of painting, which most directly associated artists with society, with outstanding contemporaries. After all, as you know, the artists received a large number of orders from individuals from individuals.

Orest Cyprosensky (1782-1836)

Orest Cyprosensky, one of the largest painters of the first half of the XIX century - Self portrait (1). The art of this artist, like any big master is heterogeneous. In their creative aspirations, the Cyprosen is subject to the influence of both romanticism and classicism. The artist's works of even one period often do not care. In the best paintings of the Cyproshensky there is a romantic understanding of the human person. In their works, the artist gives man spiritual qualities - Mind, nobility, character, ability to reflect and feel. That is why in their portraits Cyprosen mainly depicted or outstanding contemporaries - Among his works, Portraits Pushkin, Batyushkova, Zhukovsky, the heroes of the Patriotic War of 1812, or your loved ones. Gallery of portraits, created by him, is the pride of Russian visual art. Immediately after the end of the Academy of Arts of the Cyprian the whole is given to portrait painting. One of the best works then another young artist appeared portrait of Davydov (2). Cyprosen created the image of the Russian officer who is characteristic of the era - a participant in the struggle for the independence of the Motherland. In the emotional raisingness of the portrait and its colors wealth, a high picturesque skill of the Cyprosensky was manifested. In other portrait works and in a whole series of pencil drawings, the artist images of the participants of the war, officers, militia, with whom he was personally familiar. In the entire portrait work of the Cyprosen, along with the features of romantic rates, clearly affects the desire for a realistic disclosure of human psychology.Exceptional interest is portrait of A. S. Pushkin (3), truthfully imprinted for future generations the image of the Great Poet. The meaning of the Cyprosen, a subtle riverman and colorist, in the Russian art of the first half of the XIX century is huge.

Contemporaries compared his work with genres of lyrical poetry, poetic dedication to friends, which was well distributed in Pushkin time. Kiprensky portraits are always endowed with deep thought, they seem to be peering into the world. Cypriansky largely revealed for himself new opportunities in painting. Everyone his portrait is distinguished by a new picturesque building, competently selected light and shadow, a variety of contrast - "Neapolitan girl with fruits" (4), "Gypsy with a branch of Mirta" (5), "Girl in a poppy wreath with a carnation in his hand (maruochka)" (6), "Young gardener" (7), "Portrait of EP . Rostopchina "(8). Truthfully passing the individual features of the models, K. managed to embody in his best portraits a lot of public content, show the human dignity and depth of the spiritual culture of the people depicted: living human feelings are always felt behind their external tranquility.

After the defeat of the Decembrists, the Nikolaev reaction forced the artist to leave again in 1828 in Italy, where he died.

Vasily Tropinin (1776-1857) - (9)

A significant phenomenon in the history of Russian painting was creativity V. Tropinin, wonderful artist-Realistic, a significant part of your life former serf.

Vasily Andreevich Tropinin was even a few older Cyprosensky, but adverse circumstances detained the development of his talent for a long time.
In those years, when Cyproshensky created a portrait of Davydov, who celebrates the top of Russian romantic painting, Tropinin was still a unlucky serf artist in the Ukrainian estate of Count Morkov and with painting classes combined the duties of confirmer and senior lacquer. According to the whim of the landowner, he could not complete his education at the Academy of Arts. The years of Tropinine's youth left for self-taught, overlapping obstacles to master the technical ability and achieve professional skills. In the teachings, he chose the path that artists-self-taught his time was usually walked: he stubbornly and remembered from nature and copied the paintings in private art collections to which he had access to the relationships of his landowner. He studied the technique of painting not in the academic workshop, but on his own experience and on the works of old masters, and life in Ukraine, as the artist later spoke, replaced him with a trip to Italy.

This self-education system could still have some positive parties for the artist with great and original talent. Freedom from routine academic teaching partly helped the tropinine to preserve the purity and originality of their artistic perceptions in immunity. Live communication with the nature and knowledge of people's life, supported by constant work with nature, contributed to the development of realistic trends inherent in tropinine. But in young years, forcibly torn off from the artistic environment, he has not yet stood at the level of advanced tasks of art of his time. Creativity of tropinine Even in the late 1810s, it is closer to style not with the works of its peers, but with the art of the XVIII century.

The long-awaited freedom from serfacean came only in 1823, when the tropinine was already forty-seven years; To this regard, there is a flourishing of its dating. It was during this period that his own, independent artistic system emerged, a peculiarly reworked heritage of classicism and picturesque techniques of the XVIII century, and finally took shape created by tropical genre of intimate household portrait.Experts call portraits of Tropinin "Antipod" to the Cyprosen's portrait, since its paintings show a free, relative, "home" person.
"The portrait of a person is written for memory to him close people, people who love him," said Tropinin himself; In this somewhat naive approval, in essence, a whole program characterizing the tasks of the tropinine and its attitude to reality. In Tropininsky portraits transferred intimate, "Home" appearance of people of his era; The characters of the tropinine are not "posing" in front of the artist and the audience, but are captured by such what they were in private life, around the family hearth.
Tropinin appealed to genre motivates, dedicating image of a simple worker person A number of works. In their works, he pays great attention to studying nature - all his portraits are truthfully reproduced the environment of life, there is nothing wrongful, fiscal - "Girl with a doll" (10), "The old barbell, based on Knutovishche" (11), "Lace" (12). Its softly prescribed portraits are distinguished by high picturesque advantages and simplicity of perception, human images are perceived by the characteristic truthfulness and tranquility without special internal excitement . Some of these works, despite their quite obvious realistic character, inherent in the features of sentimentalism - "Girl with a pot of roses" (13), "Woman in the window. (Treasury) "(14).

At the end of 1826, S. A. Sobolevsky, a close friend of Pushkin, turned to a tropinine with a proposal to write a portrait of the poet. Attributes "Homeowing" - a bathrobe, unbuttoned shirt collar, disheveled hair, are perceived not as evidence of the intimate ease of positive, but, rather, as a sign of the "poetic disorder", with what romantic art often connected the idea of \u200b\u200binspiration "Portrait of Pushkin" (15). According to its figurative system, the portrait of Pushkin echoes with works of modern tropinun romantic painting, but at the same time Tropinin managed to create a romantic image, not adopted by realistic accuracy and truthfulness of the image. Pushkin is depicted sitting, in a natural and relaxed pose. A shirt-shaped face with whiteness, the most intense colorful spot in the picture is simultaneously its composite center. The artist did not strive to "embellish" Pushkin's face and soften the irregularity of his traits; But, in good faith following the nature, he managed to recreate and capture him high spirituality.Contemporaries unanimously recognized in the Tropininsky portrait the impeccable similarity with Pushkin. In comparison with the famous portrait of Pushkin, the work of the Cyprosen Tropininsky portrait seems more modest and, perhaps, intimate, but not inferior to him by expressiveness, nor in picturesque strength.

In the first quarter of the XIX century, important processes occur in the area Landscape painting.If the landscapes of the artists of the previous time were largely conditional and deliberately built, and, as a rule, they were written in the workshop, without nature or very few were connected with it, now the landscape players contribute much more vital truth, living observation and emotional beginning. The most significant place here belongs, of course, Silvestra is generous.

Sylvester Shchedrin (1791- 1830)

Master of Russian landscape romanticism and lyrical understanding of nature. The creativity of Sylvester Feodosievich Shchedrin was the frontier of the old and new in the history of the Russian landscape. The artist brought to perfection what his predecessors were striving for, and marked the beginning of the new realistic development of Russian landscape painting. In his works clearly affects working from nature. He was the first of the Russian painters to work on player. All his landscapes accurately transmit nature. Shchedrin introduces into its landscapes and man, but no longer in the form of faceless figures for scale, as it was before, but live people actually connected with nature. In his best works, he successfully overcomed the conditional, "museum" flavor and truthfully transmitted natural state of nature - Sunlight nuances, light blue haze gave, gentle overflows of blue sky. He was typical of a thin lyrical sense of nature.

Having completed the Academy of Arts in St. Petersburg, in 1818 arrived in Italy And lived for more than 10 years. Deserved incredible at that time popularity in Italians Those who managed to buy his paintings, sometimes they had to write many copies of their most successful works, which were quickly bought. His famous work - "New Rome" Castle of the Holy Angel "(17), Embankment of Mergellina in Naples (18), Big Harbor on Capri Island (19) and others overcoming the tradition of the "heroic landscape" and developed at the Academy of Arts an understanding of nature as a reason for historical memories, contacting living, modern reality and real nature, generin, at the same time, overcame and the conditional academic scheme of the decide of the landscape topic.

Having lived a short, but saturated with creativity, Shchedrin was never able to return to Russia. Magnificent Italian landscapes reflected all the unique beauty of nature of this region, which presented to many Russian artists by the paradise - the promised land - "Grotto in Florence" (20), "Italian landscape. Capri "(21)," Moonlight Night in Naples "(22)," Type of Lake Malmy in the vicinity of Rome. "

In this small canvas belonging to the best creatures of Russian landscape paintings, the main features of the new artistic system of Shchedrin are fully visible. "The kind of lake Nemi" is alien to the wrong effects that make up the most creature of academic landscape. In the Shchedrian landscape there are no classical groves, no waterfalls, nor majestic ruins; Idealization is replaced by alive and truthful recreating the image of Nature. The basis of the new method is not the "essay" of the landscape, but direct and accurate observation of nature.
A narrow track, scattered by old trees, goes along the coast and takes away the sight of the viewer in the depths of the picture. In the foreground, several figures: two peasants chatting on the shore, there is a monk, and the boy's boy leads to him don. Further see the calm bright waters of the lake; In the depths, covering the horizon, the highlight is high, the mountain smashes. Soft scattered light pours picture through the branches of trees on the sandy path falling sun glare, water glitters silver in the sun, and transparent air paddes envelops the close and distant items.

Realistic Mastering Space is one of the main achievements of generous in this picture. There is no either kulis, nor substantive milestones noting. Linear perspective was changed by air. True, three traditional plans are still stored in the picture, but the road running deeply binds them together and makes the space continuous. The artist is no longer satisfied by the true reproduction of individual details; It seeks the integrity of the overall impression and organic unity of all elements that make up the landscape. Transmission of light and air, unity of lightingThis binding items and spatial plans is the main means, thanks to which the picture acquires this integrity.
The picturesque system developed by generous on the basis of studying nature outdoors (the so-called plenixed painting) opens a new page in the history of the landscape. It is not surprising that the innovation of the Russian master was not estimated immediately and caused protests of conservative artistic criticism. The ideologists of academic art it seemed that Generin "adhered to slave imitation of nature, not allowing deviations even in favor of elegant." Indeed, the artist deliberately refused the conditional and fictional effects, which were considered "elegant" in circles close to the Academy of Arts. But, of course, he was very far from passive copying of nature. In his picture, not only captured the real appearance of the shores of Lake Nemi, but also disclosed with a deep and true penetration of the poetry of Italian nature, its solar calm and bright, peaceful harmony.
The artist was carried away by another motive - a terrace was seized with grapes overlooking the sea - "Veranda, wrapped grapes" (24).

Alexey Venetsianov (1780-1847) - (25)

Venetsian is called the founder of Russian genre (household) painting. It is not quite true - he had predecessors in the XVIII century. But it is from Venetianova begins lifting realistic trends In Russian art, accompanied by appealing to the world of national and folk images and an increase in interest in modern life.

Creativity Venetianov is penetrated by patriotic and truly democratic globalism. The era of public lift associated with the Patriotic War, revealed the eyes of the artist on the deep moral qualities of a simple Russian person from the people, on his heroism and human dignity. IN russian fortress peasantry Venetsianov - an artist-humanist - managed to see the features not slave, but, on the contrary, the highest human type.

Wonderful Russian artist-Gengver and Portraitist Alexey Gavrilovich Venetsianov for the first time in Russian painting connected the images of peasants and national nature. Veneticians - the creator of the whole gallery peasant portraits - "Sleeping Cowgirl" (26).

The picture "Sleeping Cleaning" occupies an outstanding place in this cycle. It belongs to the number of the most poetic creatures of Venetsian. The artist with special warmth and lyrical elevation depicted peasant children. The cleanliness and harmonious clarity of his artistic thinking as it is impossible to answer the tasks of recreation of the children's world. None of the Russian masters of his time reached such penetration, such an acute truthfulness and at the same time such a power of a poetic feeling in the image of children's images and children's experiences. This, however, does not exhaust the content of the "sleeping shepherd". It is clearly clearly and clearly performed all the main features of the Art Language of Venetsianov, the whole system of its figurative thinking, all the progressive aspects of his art, but at the same time historically explaining the organity of its realism. There is no action in the "sleeping shepherd". A peasant boy depicted in the field; He sits on the shore of a narrow river, leaning against the trunk of a big old birch, and behind him in the distant plan of the picture opens a typical Russian landscape with a swollen hut, rare Christmas trees and endless, until the horizon, fields. But in this uncomplicated plot invested deep emotional content. The picture of Venetsian was imbued with a feeling of peace and peace, lyrical love for nature and man.
The main theme of the picture is the harmonious merger of a person with nature, and Venetsians, undoubtedly, echoes here with sentimentalism to the 17th century, the XVIII century. In the "shepherd" there are no traces of deliberate posing, on the contrary, the entire appearance of the sleeping boy is marked by the features of living and relaxed naturalness. Veneticians with special care emphasizes the National Russian type in it and gives his face an expression of genuine touching spiritual purity. Criticism sometimes strengthened Venetianov for a somewhat mannered cauldron's posture, but this reproach is unfair - it was the posting boy's pose with her peculiar deceitivity, well-transmitting sleep state, testifies to the label of the artist's observation and the proximity of his images to the vibrant nature. A particularly significant role in the picture playing a landscape. It becomes no longer a "background" for the image of a person, but an independent and essential means in the transmission of feelings and in building an image. Venetsianov specified in the landscape as the founder of the new direction, subsequently widely developed by Russian art of the XIX century. Venetsianov turned to a simple, "unkwilled" nature of the native country and recreated it not only with attentive accuracy, but also with a deep lyrical feeling.

The image of nature, as well as the image of a person, in the art of Venetsianov becomes the carrier of idyllic globility.

"Foreign on the cards" (27), "renouncements" (28), "Pearswoman with oblique and robbles (Pelagia" (29), "Buckles" (30), "on arable land. Spring" (31) . In his artistic works, the painter expresses his ideological and aesthetic position. Venetsian showed the spiritual appeal of the peasants, I argued in him the personality, thereby defending his human rights. In his works, depicting peasants, the artist sought to reveal spiritual and physical beauty of a simple Russian man. The painter deeply sympathized with the peasant dollars, a lot of forces appreciated to facilitate the position of serf artists, but at the same time he was far from social criticism. Venetianov's work was greatly influenced by a classic heritage: he was not afraid to use the means of old painting in his works. At the same time, being a realist for aspirations, he was closely respect for the personality, characteristic of romanticism, along with an elevated harmony of classicists. The wide appeal of the "Father of the Russian genre" to the peasant theme was for that time with a genuine artistic revelation and was warmly greeted by the advanced part of the Russian society.

The innovation of Venetsian was manifested not only in the fact that he turned to the circle of images, new in Russian painting, but also in the fact that for their incarnation he developed new realistic visual means. Venetcians openly broke with the old conditional art of the Academy and urged to learn from life, at nature, study it and to imitate her.

The meaning of Venetsianova is great as a teacher. In his estate, Safonkov, he created an art school, in which the whole of pleiad of painters, so-called Venetians received the formation. These artists, following the covenants of their teacher, worked mainly in the region of the genre, depicting homemade life, street scenes, the work of peasants and artisans, a rustic landscape.

The exorbitant costs associated with the need to keep school and provide their pupils, lay down a heavy burden for the estate. In the end, he was forced to lay the estate in the guardian council. Trying to somehow straighten the financial situation, Venetsian was taken for customers. For the most part, it was portraits and icons for churches. On December 4, 1847, graduating from sketches of icons for one of the Tver Churches, he wanted to self-take them to Tver. On the descent from the steep mountain of the horse suffered, Venetsian was thrown out of the sleigh, and he was confused in the wind. In the village of Poddubye Troika caught the idle body already.

Karl Brullov (1799-1852) - (32)

Karl Petrovich Bryullov - an outstanding Russian historical painter, portraitist, landscape officer, author of monumental paintings; Winner of honorary awards: Large gold medals for the paintings "Phenomenon of Abraham Three Angels at the oak Mamvrian" (1821) and "Last Day Pompeii" (1834), Oven Anna III degree; Member of the Milan and Parm Academies, St. Luke Academy in Rome, Professor of St. Petersburg and Florentine Academies of Arts, Honorary Fresh Accomposition of the Paris Academy of Arts.

In the family of academician ornamental sculpture P.I. Brulylo, all seven children had artistic talents. Five sons: Fedor, Alexander, Karl, Paul and Ivan became artists. But the glory that fell down to the share of Karl, eclipsed the successes of other brothers. Meanwhile, he grew up a weak and vanity child, seven years almost did not get out of bed and was exhausted with gold so much that "became the subject of disgust for his parents."

Karl Pavlovich Brullov was one of the brightest, and at the same time contradictory artist In Russian painting of the XIX century. Bromlov had a bright talent and independent thoughts. Despite the trends of time (the effect of romanticism), the artist could not completely get rid of classic canons. Perhaps that is why his work is highly appreciated by the far from the advanced Petersburg Academy of Arts: he was her student in his youth, and later became a well-deserved professor. However, with the exception of Fedotov, the artist did not have significant students in the talent. His followers for the most part became superficial salon painters, having learned only some external techniques of Bryullov. Nevertheless, during the Life of Bryullov, or the "Great Charles,", as the elite nicknamed him, was honored not only in Russia, but many outstanding people in Europe. In the second half of the XIX century, during the heyday of realism, artists and criticism saw in Bullov only a representative of an unacceptable "academic" direction. A lot of years passed before the artist took the right place belonging to him in the history of Russian art.

Bryullov was a man of a huge talent shown by him in a wide variety of art genres. Development russian historical painting, portrait, drawing, decorative painting Many must be his work. In each of these genres, the virtuoso skill of the wonderful artist left a deep mark.
Having received an initial education from his father, professors of the Academy of Arts, and later in the Academy itself, the Bullels from youth discovered outstanding artistic abilities.

As a pensioner in Rome and having studied the classic heritage, he made works with works, in which not only the maturity of its dating immediately appeared, but also the fruitfulness of his search for realistic expressiveness of the artistic image. Such pictures of the bullov like "Italian Morning" (33), "Noon" and some other dedicated to the life of the Italian people, called in St. Petersburg by the defenders of classicism reproaching in the excessive commitment to the young artist to real life. It was not embarrassed by the bullov, and he continued to work on his largest cloth "The last day of Pompeii" (34), who brought him the fame of the best painter of the era. Having done a huge pre-work, he created a truly dramatic epic, the romantic elevation of the images of which made a tremendous impression on contemporaries. This picture was a triumph of Russian visual art, a convincing testimony of his maturity.

Understanding the historical topic, expressed in the "last day of Pompeii", directly echoes the circle of historical ideas developed by the advanced Russian literature and the public thought of the 1820-1830s.
Unlike the previous historical painting with her cult of heroes and underlined attention to a separate person, the opposite impersonal crowd, Bullov was conceived by the "Last Day Pompeii", as a mass scene in which the only and genuine hero would be the people. All major actors in the picture are almost equal expressives of its topic; The meaning of the picture is incarnated not in the image of a single heroic act, but in the attentive and accurate transfer of psychology of the masses. Work on the "last day of Pompeii" was delayed for almost six years.

The topic of the painting is taken from ancient Roman history.
Pompey (or rather Pompeii) -star Roman city, located at the foot of Vesuvia, - On August 24, 79 of our era, as a result of the strongest volcanic eruption, he was filled with lava and loosened with stones and ashes. Two thousand inhabitants (which were only about 30,000) died on the streets of the city during panic escape.
More than one and a half thousand years, the city remained buried underground and forgotten. Only at the end of the XVI century, during the production of earthworks, a place was accidentally found, where the dead Roman settlement was once located. Since 1748, archaeological excavations began, especially revived in the first decades of the XIX century.

In the center of the picture there is an extended figure of a young woman who broke with a fall of the chariot. It can be assumed that in this figure, Bhorlov wanted to symbolize the entire dying antique world; The hint of such an interpretation occurs in the reviews of contemporaries not by chance next to the central figure of the killed woman, the artist portrayed a beautiful infant as a symbol of the inexhaustive strength of life. The picture is also a pagan priest and the Christian priest, as if personifying the outgoing antique world and the Christian civilization emerging on his wreckage.

Being a painter of a big talent, Bullov destroyed the narrow framework of academic canons with their works. His works were consistently differed in the lattice of the plan.
In his work, the artist is the main aTTENTION paid a man, disclosing the strength of his mind and approving the nobility of his aspirations. In each piece of Bryullov, in any of his canvas and in any drawing, love and respect for man are invariably embodied - "The genius of art" (35), "Narcissus, looking into the water" (36), "Sleeping Juno" (37).

It is not happening to reach the artist and in the field of portrait. Bryullov brought a whole series of images of his contemporaries. Along with the official registered portraits, he left us a number of deep realistic images of artists, people of their circle - writers, artists, actors - "Horseman" (38), "Falling Svetlana" (39), "Portrait of Princess Volkonskaya" (40), "Turkhanka" (41), "Sleep of Monastery" (42), "Glinka's head" (43).

Alexander Ivanov (1806-1858)

A new and even more significant page in the history of Russian painting was the work of Alexander Ivanov. Having received an art education in St. Petersburg, Ivanov as a pensioner of society promotion of art was sent to Italy to improve and study classical art.
His father, professor at the historical painting of the Academy of Arts, in the traditions of Russian classicism, Ivanov acutely felt the decline of this style in new historical conditions and collapse even recently dominated the aesthetic ideals and ideas. The task of all his life he set the return to the art of his social significance. Creative achievements of great classic artists, according to his thought, should be associated with the newest ideas of Russian society. "To combine the technique of Raphael," he wrote, "with the ideas of a new civilization - this is the task of art at the present time."

"The phenomenon of Christ Mary Magdalene" (44), - It belongs to the early period of Creativity Ivanova and has all the features of classicism features: a balanced composition, distribution of figures and objects according to plans, smooth pattern and local color, emotional expressiveness in the interpretation of traditional mythological and evangelical topics.

The leading importance for Ivanov has images of the art of Italian revival. Completes the early period of artist's artist "Apolon, hyacinth and cypress music and singing" (44A), created by Ivanov already in Rome, which is distinguished by an extraordinary thin composition-color harmony and the poetic elevation of the interpretation of antique myph images. This is an antiquity perceived through the revival. The artist, as it were, opens a hidden divine meaning of nature.

The great Russian artist Alexander Andreevich Ivanov enriched Russian and European painting of the XIX century depth of philosophical thought. In his work, Ivanov raised many problems to his modern life: the artist was the first in Russian painting raised the question of the social inequality of people. His worldview was formed under the influence of N. V. Gogol, with whom the artist was friends during these years. Gogol was largely influenced by Ivanov's ideas about the educational tasks of art. Ivanov realized educational and prophetic role of the artistHe believed that art should serve as transformation and moral improvement of humanity. The artist sought Odemon

The crisis of serfdom inhibits the development of the capitalist system. In the secular circles, the winsno-loving ideas are born, the Patriotic War of 1812, as well as Russian troops participate in the liberation of European states from Napoleon, the Decembrist uprising in 1825 against tsarism, all this affects the painting.

What is different painting in the era of Geniya A.S. Pushkin?

Probably, the embodiment of the bright and humane ideals of the freedom-loving people ...

Along with classicism, a romantic course is developed, realism is formed.

The romantic direction of Russian painting was the beginning of development in the following decades - realism. So comes closer russian artists, Romantics with real life, which was the essence of the movement of artists of this time. The widespread exhibitions at the same time talks about the convergence of the Russian people with the world of art, the people of all classes seek to visit the exhibitions. It is believed that the picture K.P. Broulova "Last Day Pompeii" served such rapprochement. The Peter people of all classes sought to see her.

Russian painting becomes multinational, paintings acquire national shades, take students from different nationalities to the Academy. There are natives of Ukraine, Belarus, Baltic States, Transcaucasia and Central Asia here.

In the first half of the XIX century, painting is represented by all genres: Portrait, Landscape, Still Life, Historical Picture.

Famous Russian artists in the first half of the XIX century:

Masterpieces of Russian painting

• Painting Bryullov K.P. "The last day of Pompeii"

• Picture Ivazovsky IK "Ninth Shaft"

• Picture of Bruni F.A. "Copper Zmiy"

• Picture of Venetsianov A.G. "Khumno"

• Painting Tropinin V.A. "Laney"

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The first decades of the XIX century. In Russia, they were held in the situation of the nationwide lift associated with the Patriotic War of 1812. The ideals of this time were found in the poetry of the young Pushkin. The war of 1812 and the Decembrists' uprising largely determined the nature of the Russian culture of the first third century.

Especially acute contradiction of time were marked in the 40s. It was then that A.I. revolutionary activity began Herzen, with brilliant critical articles V. G. Belinsky, passionate disputes led Westerns and Slavophiles.

Romantic motives appear in the literature and art, which is natural for Russia, already more than a century involved in the pan-European cultural process. The path from classicism to critical realism through romanticism determined the conditional separation of the history of the Russian art of the first half of the XIX century. As if by two stages, the watershed of which were the 30s.

Much has changed compared to the XVIII century. In the visual, plastic arts. The public role of the artist, the importance of his personality, his right to freedom of creativity, in which social and moral problems have now raised increasingly.

The growth of interest in the russian life of Russia was expressed in the building of certain artized societies and the publication of special journals: "Free Society of Literature Literators, Sciences and Arts" (1801), "Journal of Fine Arts" first in Moscow (1807), and then in St. Petersburg (1823 and 1825), "Society for promoting artists" (1820), "Russian Museum ..." P. Swistina (1810s) and "Russian Gallery" in Hermitage (1825), provincial art schools, like school A.V. Stupina in Arzamas or A.G. Venetianova in St. Petersburg and the village of Safonkovo.

The humanistic ideals of Russian society were reflected in the high-cost-general samples of architecture of this time and monumental-decorative sculpture, in the synthesis with which decorative painting and applied art, which often turns out to be in the hands of the architects themselves. The masterful style of this time is mature, or high, classicism, in the scientific literature, especially the beginning of the 20th century, often referred to as Russian ampir.

Architecture

The architecture of the first third of the century is primarily the solution of large urban planning tasks. In St. Petersburg, the layout of the main squares of the capital is completed: Palace and Senate. The best ensembles of the city are created. Especially intensively after the fire of 1812, Moscow is built. An ideal becomes antiquity in its Greek (and even archaic) version; Cenning heroic of antiquity inspires Russian architects. A doric (or Tuscan) warrant is used, which attracts its severity and laconicism. Some elements of the order are enlarged, it usually concerns the colonnade and arches, the power of smooth walls is emphasized. The architectural image is striking magnifier and monumentality. A huge role in the general appearance of the building is played by a sculpture that has a certain semantic value. Much solves the color, usually the architecture of high classicism two-color: columns and stucco statues - white, background - yellow or gray. Among the buildings are the main place are occupied by public structures: theaters, departments, educational institutions, the palaces and temples are much less likely (with the exception of regferred cathedrals under the barracks).

"View of Stroganovskaya Dacha" (1797, Russian Museum, St. Petersburg)
Big Cabinet S.V. Stroganova, watercolor from the album of the Stroganov family, the 1830s.

The largest architect of this time Andrei Nikiforovich Voronikhin (1759-1814) began his independent path in the 90s with restructuring after F.I. Demetsov interiors of the Stroganov Palace F.-B. Rastrelli in Petersburg (1793, Mineral Cabinet, Picture Gallery, Corner Hall). The classic simplicity is characteristic of the Stroganovsky cottage on the black river (1795-1796, not preserved. For landscape butter "Cottage Stroganova on a black river" , 1797, MRM, Voronikhin received the title of academician). In 1800, Voronikhin worked in Peterhof, fulfilled the draft galleries at the Buchet Fontana "Samson" and taking part in the overall reconstruction of a big grotto fountains, for which the artist's Academy was officially recognized as an architect. Later, Voronikhin often worked in the suburbs of St. Petersburg: he designed a number of fountains for the Pulkovskaya road, separated the cabinet "Flashlight" and the Egyptian lobby in Pavlovsky Palace,

Kazan Cathedral
Mining Institute

Wiscontal bridge and pink pavilion in Pavlovsk Park. The main brainstorm of Voronikhina - Kazan Cathedral (1801-1811). The semi-curvous colonnade of the temple, which he erected not from the part of the main - Western, and from the side - the northern facade, formed the square in the center of the Nevsky Perspective, turning the cathedral and the building around to the most important urban-planning unit. Armenia, the second is completed by the colonnade, connect the building with the surrounding streets. The proportionality of the side travel and the buildings of the cathedral, the drawing of the portico and the cannoned Corinthian columns testify to the excellent knowledge of the ancient traditions and the skillful of their modifications in the language of modern architecture. In the remaining unfinished project of 1811, the second colonnade was assumed from the southern facade and a large semicircular area of \u200b\u200bWestern. Only a wonderful cast iron lattice in front of the Western facade was made of this design. In 1813, M.I. was buried in the cathedral Kutuzov, and the building has become a kind of monument to victories of Russian weapons. There were banners and other relics, shot down from Napoleonic troops. Later, the monuments of M.I. were delivered to the cathedral. Kutuzov and M.B. Barclay de Tolly, performed by sculptor B. I. Orlovsky.

Even more strict, anticipated character gave Voronikhin to the Mountain Cadet Corps (1806-1811, now the Mountain Institute), in which everything is subordinated to a powerful doric portico from 12 columns facing the Neva. As much severely, the image of the sculpture decorating its sculpture, perfectly combined with the smoothing of the side walls and doric columns. I.E. Grabar correctly noticed that if the classicism of the Catherine Epoch came out of the ideal of Roman architecture (quarters), then "Aleksandrovsky" as it would resemble the state-of-the-artistic style of Pestum.

Voronikhin - the architect of classicism - a lot of strength gave the creation of an urban ensemble, synthesis of architecture and sculpture, organic combination of sculptural elements with architectural members in both large buildings and small. The Mountain Cadet Corps seek view of Vasilsvsky Island from the sea. On the other side of the island, on his arrow, Tom de Tomon in these years builds an Exemble of Exchange (1805-1810).

Tom de Tomon (OK 1760-1813), Swiss by origin, came to Russia at the end of the 18th century, already working in Italy, Austria, perhaps after passing the course in the Paris Academy. He did not receive completed architectural education, nevertheless, he was entrusted to construction building

View of the Exchange from the Big Neva

Exchange And he brilliantly coped with the task (1805-1810). Tomon changed the entire appearance of the arrows of the Vasilyevsky Island, by placing the semicircle of the coast of the two beds of the Neva, putting along the edges rostral Lighthouse Columns , thereby forming the area of \u200b\u200bExchange Square. The Exchange itself has a form of a Greek temple - periptera on a high base, intended for trading warehouses. The decor is almost absent. Simplicity and clarity of forms and proportions give the building a majestic, monumental character, make it the main thing not only in the arrow ensemble, but also affecting the perception of both embankments as university and palace. The decorative allegorical sculpture of the building of the stock exchange and Rostral columns emphasizes the appointment of structures. The center of the Exchange with a laconic Doric Antablement is blocked by a caissious semi-curvous arch.

The exchange ensemble was not the only conservation of Tom de Tomon in St. Petersburg. He built in royal suburban residences, using the Greek type of construction here. The romantic mood of the artist was fully expressed in the mausoleum "Spouse-benefactor", erected by Empress Maria

Mausoleum spouse-benefactor in Pavlovsk

Fedorovna in memory of Paul in Pavlovsk Park (1805-1808, a memorial sculpture is performed by Martos). Mausoleum resembles an archaic type of church-forgable. Inside the hall is also blocked by a caissonated arch. Smooth walls are lined with artificial marble.

The new century was marked by the creation of the main ensembles of St. Petersburg. Graduate of the St. Petersburg Academy and the student of the Paris architect J.-F. Shalgrena Andreyan Dmitrievich Zakharov (1761-1811), from 1805 "The Chief Admiralty Architect", starts construction Admiralty (1806-1823). Restruiting the old Korobovskoye building, he turned it into the main ensemble of St. Petersburg, invariably standing in the imagination, when the city refers to the city and today. Zakharov's composite solution is extremely simple: the configuration of two volumes, and one volume is embedded in another, of which the external, P-shaped, separated by the channel from two internal fregenel, M-shaped in the plan. Internal volume is ship and drawing workshops, warehouses, external agencies, administrative institutions, museum, library, etc. The facade of the Admiralty stretched out 406 m. Side facades-wings go to the Neva, the central ending in the middle of the triumphal travel arch with the spire, which is a castle of composition and through which

Alexandrovsky Garden and Admiralty

runs the main entrance inside. Zakharov retained the brilliant Korobovsky plan of the spire, showing the beat and respect to the tradition and sowing it to transform in the new classic image of the building as a whole. The monotony of almost half-kilometer facade is broken by uniformly located portico. In a striking unity with architecture there is a decorative plastic building, having both architectonic, and semantic meaning: Admiralty is the Marine Office of Russia, a powerful marine power. The entire sculpture system was developed by Zakharov himself and brilliantly embodied by the best sculptors of the beginning of the century. Over the parapet of the upper platform of the pavilion of the tower, topped with a dome, depicted allegories of winds, shipbuilding, etc. in the corners of the attic - filled with F. Shchedrine Four sitting warrings in lats, based on shields, below -Mominal, up to 22 m length, relief frieze " Fleet Installation in Russia "I. Terebenev, then in a flat relief Image of Neptune, transmitting Peter Trident as a symbol of domination over the sea, and in high relief - winged glory with banners - Symvari victories of the Russian fleet, even lower sculptural groups" Nymph, holding globes " As the Zakharov himself called them, filled with F. Shchedrin. This is a combination of a round sculpture with high and low terrain, statue plastics with relief-ornamental compositions, this ratio of sculpture with a smooth array of the wall was used in other works of Russian classicism of the first third of the XIX century.

Zakharov died, not seeing admiralty in the finished form. In the second half of the XIX century. The shipyard of the shipyard was built up with profits, much in sculptural decoration was destroyed, which distorted the original idea of \u200b\u200bthe Great Arch Republic.

The best traditions of domestic architecture were connected in Zakharovsky Admiralty (it's not by chance that his walls and the central tower remind many of the simple walls of the Old Russian monasteries with their gentle bell tower) and the most advanced town planning tasks: the building is closely related to the architecture of the city center. From here, it takes the beginning of three avenues: Voznesensky, pea ul .. Nevsky Prospect (this radiation system was conceived by Peter). Admiralty needle echoes high spiers of the Peter and Paul Cathedral and Mikhailovsky Castle.

The leading St. Petersburg architect of the first third of the XIX century. ("Russian ampury") was Karl Ivanovich Rossi. (1777-1849). The initial architectural education of Rossi received in the workshop of Brenna, then

Mikhailovsky Palace (Main Corps of the Russian Museum)

made a trip to Italy, where he studied antiquity monuments. Self-independent his work begins in Moscow, continues in Tver. One of the first works in St. Petersburg -Postroika on Elagin Island (1818). We can say about Rossi that he "thought the ensembles." Palace or the theater turned into a town-planning knot from the squares and new streets. So, creating Mikhailovsky Palace (1819-1825, now the Russian Museum), it organizes the square in front of the palace and lays the street to Nevsky Prospect, and in this case, at the same time, with his intention with other nearby buildings - Mikhailovsky castle and the space of Marsov fields. The main entrance of the building placed in the depths of the front courtyard behind the cast-iron grille looks solemnly, monumentally, which is facilitated by the Corinthian portico, to which there is a wide staircase and two ramps.

Main Staff Building on Palace Square

Much in the decorative decoration of the Palace Rossi did himself, and with an impeccable taste - a drawing of the fence, the interiors of the lobby and the white hall, in which white with gold prevailed, characteristic of an ampury, like the painting of the Griezaile.

In decoration Palace Square (1819-1829) before Rossi stood the most difficult task - to combine the baroque Palace of Rastrelli and the monotonous classic facade of the building of the Main Staff and Ministries. The architect violated the sadness of the last triumphal arch discovering the exit to a large maritime street to Nevsky Prospect, and gave the right form of the area - one of the largest among the areas of European capitals. The Triumphal Arch, crowned by the chariot of glory, reports the entire ensemble of a highly important character.

One of the wonderful ensembles of Rossi was launched by him at the end of the 10th and completed only in the 30s and included the building. Alexandrian theater built according to the latest technology of that time and with rare artistic perfection adjacent to Him Alexandrian Square, theatrical

Facade of Alexandrinsky Theater

the street behind the facade of the theater, who received the name of her architect, and the Square of the Fontanka embankment of the Fontanka. In addition, the ensemble entered the Socolomic Building of the Public Library, modified Rossi, and the Palace Palace, built by Russia in 1817-1818.

Last creation Rossi in St. Petersburg - senata Building and Synod (1829-1834) on the famous Senate Square. Although it still strives to the dangling scope of the creative thought of the architect, which combined the triumphal arch of two buildings, separated by a gallery street, should not be noted the emergence of new features characteristic of the late creativity of the architect and the last period of an ambiguity as a whole: some fraction of architectural forms,

Senate and Synod, St. Petersburg

overloading with sculptural elements, stiffness, coldness and pompousness.

In general, the creativity of Rossi is a general sample of urban planning. As once Rastrelli, he himself made a decor system, designing furniture, creating wallpaper drawings, and also headed the huge team of wood and metal masters, painters and sculptors. The integrity of his ideas, the Unified Will helped creating immortal ensembles. Rossi constantly collaborated with sculptors S.S. Pimenal senior and V.I. Demoust-Malinovsky, the authors of famous chariots on the triumphal arch of the main headquarters and sculptures on the Alexandria theater.

"The strictest" of all architects of late classicism was Vasily Petrovich Stasov (1769–

Moscow Triumphant Gate
Narva_Vortota

1848) whether it was a barracks (Pavlovsk barracks on a Mars in St. Petersburg, 1817-1821), whether the imperial stables rebuilt ("Stable Office" on the embankment washing at the stable area, 1817-1823), whether shelf cathedrals were erected (Izmailovsky Cathedral , 1828-1835) or Triumphal Arches (Narva and Moscow Gates), or issued interiors (for example. Winter Palace after the fire of 1837 or Ekaterininsky Tsarskoselsky after the fire of 1820). Everywhere Stasov emphasizes the mass, its plastic severity: his cathedrals, their dome cargo and static, columns, usually doric orders, are as impressive and heavy, the overall appearance is devoid of grace. If Stasov resorts to the decor, then it is most often heavy ornamental friezes.

Voronikhin, Zakharov, Toma de Tonon, Rossi and Stasov - Petersburg architects. In Moscow at that time, no less wonderful architects worked. In the war of 1812, more than 70% of the entire city residential foundation were destroyed - thousands of houses and more than a hundred churches. Immediately after the expulsion of the French, the intensive restoration and construction of new buildings began. It reflected all the innovations of the epoch, but remained a living and fruitful national tradition. This was the originality of the Moscow Construction School.

big theater

First of all, the Red Square was cleared, and on it O.I. Bove (1784-1834) were rebuilt, and in fact, re-erected trading series, the dome over the central part of which was located opposite the Dome of the Kazakovsky Senate in the Kremlin. On this axis, a monument to Minin and Pozhassky was somewhat later.

Beauvais also engaged in the reconstruction of the territory adjacent to the Kremlin, including a large garden at his walls with a gate from the Mokhovaya Street, the grotto at the foot of the Kremlin Wall and Rampus in the Trinity Tower. Bovy creates theatrical Square ensemble (1816-1825), building a large theater and tying a new architecture with an ancient Kurtkoe wall. Unlike Petersburg squares, it is closed. Osip Ivanovich also belongs to the buildings of the First Hospital (1828-1833) and Triumphal doors At the entrance to Moscow on the part of St. Petersburg (1827-1834, now on Cutuzov Avenue), the church of all the grieving joy at Big Ordyanka in

Triumphal Gate, O.I. Bove

Zamoskvorechye, which Bevea attached to the erected at the end of the XVIII century. Bazhenovy bell tower and refectory. This is the Church-Rotunda, the dome of which supports the colonnade inside the cathedral. The master adequately continued the case of his teacher Kazakov.

Almost always together fruitfully worked Domenico (Demente Ivanovich) Libolddi (1788-1845) and Athanasius Grigorievich Grigoriev (1782-1868). Liberadi rebuilt burnt during the war Cossack Moscow University (1817-1819). As a result of the rearrangements, the dome and portico become more monumental, from the ionic turned into a doric. Many and successfully Liberadi and Grigoriev worked in a manor architecture ( manor Usacheva on Jauze, 1829-1831, with its fine scenery; The estate of Golitsyny "Kuzminki", the 20s, with his famous equestrian yard).

Manor Usachevy-Found

The special charm of the Russian amp was conveyed to us by the Moscow residential buildings of the first third of the XIX century: the solemn allegorical figures on the facades peacefully adjoin themselves - with the motif of balconies and barisades in the spirit of provincial ussers. The end facade of the building is usually bred on the red line, while the house itself is hidden in the depths of the yard or garden. The composition of comprehensive painting and dynamics, in contrast to the St. Petersburg equilibrium and orderliness (Lunin house, in the Nikitsky gate, built by D. Livilladi, 1818-1823); House Khrushchev, 1815-1817, now Museum A.S. Pushkin, built by A. Grigoriev; His house Stanitskaya, 1817-1822, now Museum L.N. Tolstoy, both on the prechistenka.

Liberadi and Grigoriev in many ways contributed to the spread of a Moscow ambigue, mainly wooden, throughout Russia, from Vologda to Taganrog.

By the 40s of the XIX century. Classicism has lost its harmony, weightless, complicated, we see this on the example

Saint Isaac's Cathedral

St. Isaac's Cathedral in St. Petersburg built Auguste Monferran Forty years (1818-1858), one of the last prominent monuments of cult architecture in Europe XIX century, which united the best forces of architects, sculptors, painters, bricklayers and founders.

Ways to develop the sculpture of the first half of the century are inseparable with the paths of development of architecture. In the sculpture, such masters continue to work as I.P. Martos. (1752-1835), in the 80-90s of the XVIII century. Happressed by his tombstones noted by the greatness and silence, the wise acceptance of death, "like an ancient" ("sorrow my light ..."). By the XIX century. His handwriting changes much. Marble is replaced by bronze, lyrical start - heroic, sensitive-strict (gravestone E.I. Gagarina, 1803, HMGS). Greek antiquity becomes a direct sample to imitate.

Monument to minin (worth) and Pozharsky (sits)

In 1804-1818 Martos is working on monument to minin and a fire The funds on which were going on a public subscription. Creating a monument and its installation took place during the highest public lifting and reflected the mood of these years. The ideas of the highest civil debt and the feat in the name of Martos Motherland embodied in the images of ordinary and clear, in concise artistic form. Minina's hand is simple to the Kremlin - the greatest folk shrine. His clothes are Russian shirt, and not an antique Toga. At the Prince of Pozbassy, \u200b\u200bancient Russian armor, an isochih helmet and a shield with a picture of the rescue. The monument is revealed differently from different points of review: if you look at the right, it seems that, leaning on the shield, the Pozharsky stands towards minin; From the frontal position, from the Kremlin, it seems that Minin convinced the Pozharsky to take on a high mission of the defense of the Fatherland, and the prince is already taken after the sword. The sword becomes a link

Moses exuded water from stone

all composition.

Together with F. Shchedrian Martos also works on sculptures for the Kazan Cathedral. They are executed relief "Water outflow Moses" On the Attics of the Eastern Wing of the Colonnade. Clear membership of figures on a smooth background of the wall, strictly classic rhythm and harmony characteristic of this work (Frieze Attica Western Wing "Copper Zmiy", as mentioned above, was executed by Prokofiev).

In the first decades of the century, the best creation was created F. Shchedrin - The sculptures of the Admiralty, as mentioned above.

The next generation of sculptors is represented by names Stepan Stepanovich Pimenova (1784-1833) and Vasily Ivanovich Demoust-Malinovsky (1779-1846). They, like no other in the XIX century, reached in their work organic synthesis of sculpture with architecture - in sculptural groups from

"Abduction of Prosepsy"
Chariot Apollo

poodostic stone for Voronikhinsky Mining Institute (1809-1811, Demoust-Malinovsky - "Abduction of Proserpina Pluto" , Pimenov - "The Battle of Hercules with Antehe"), the nature of the cargo figures of which is conspired by the Doric portico, or performed from the sheet copper the chariot of glory and the chariot of Apollo for the Republic of National Creation of the Dvorts Triumphal Arch and the Alexandria.

Chariot of Glory Triumphal Arch (Or, as it is also called, the composition "Victory") is designed for the perception of silhouettes, clearly drawn against the background of the sky. If you look at them directly, it seems that the mighty six horses, where the most extremely removed under the coziers, presented in a calm and strict rhythm, reigns over the entire area. On the side of the composition becomes more dynamic and compact.

Monument to Kutuzov

One of the recent examples of the synthesis of sculpture and architecture can be considered the statues of Barclay de Tolly and Kutuzov (1829-1836, delivered in 1837) at the Kazan Cathedral of work B.I. Orlovsky (1793-1837), which did not live a few days before the opening of these monuments. Although both statues were executed in two decades after the construction of the cathedral, they brilliantly fit into the passages of the colonnade, who gave them a beautiful architectural framing. The idea of \u200b\u200bthe monuments of Orlovsky concisely and brightly expressed Pushkin: "Here is the prickle of Barclay, and here the performer of Kutuzov", i.e. the figures personify the beginning and the end of the Patriotic War of 1812. From here Resistance, internal voltage in Barclay's figure - symbols of heroic resistance and ahead of the gesture. Kutuzov's hands, Napoleonic banners and eagles under his legs.

Sculpture

Russian Classicism found an expression in the machine sculpture, in the sculpture of small forms, in medal art, for example in famous medallion reliefs Fedor Tolstoy (1783-1873), dedicated to the war of 1812, an expert of antiquity, especially Homeric Greece, the finest plastic, extensive

F. P. Tolstoy. People's militia of 1812. 1816. Medallion. Wax

draftsman. Tolstoy managed to combine the heroic, sublime with intimate, deeply personal and lyrical, sometimes painted even a romantic mood, which is so characteristic of Russian classicism. Tolstoy reliefs were performed in the wax, and then the "old manir", as the Senior Seniper did in Petrovsky, were cast by the Metal Master himself, and numerous gypsum options were preserved, or translated into china, or filled in mastic ("People's Militia", "Battle Borodino "," Battle of Leipzig "," Mir of Europe ", etc.).

It is impossible not to mention the illustration of F. Tolstoy to the poem "Drain" I.F.

Tolstoy F. P. Illustration to "Drain". 1820-1833

Bogdanovich, performed in a carcass and feather and bezed by a cutter - an excellent sample of Russian enemy graphics on the plot of Ovidievsky "Metamorphosis" about the love of Amur and Psychia, where the artist expressed his understanding of the harmony of the ancient world.

Russian sculpture of the 30-40s of the XIX century. It is becoming more democratic. It is not by chance that these years appear such works as "a guy playing in grandmother" N.S. Pimenova (Pimenova younger, 1836), "The guy playing in pike" A.V. Loganovsky, hotly met by Pushkin, who wrote the famous poems about their exposure.

Interesting creativity sculptor I.P. Vitaly (1794-1855), who performed the sculpture among other works

Figures of angels at the lamps at the corners of St. Isaac Cathedral

for the triumphal gates in memory of the Patriotic War of 1812 in the Tver Ocpain in Moscow (Arch. O.I. Bow, now on the ave. Kutuzov); Pushkin bust, made shortly after the death of the poet (marble, 1837, WMD); Colossal figures of angels at the lamps at the corners of St. Isaac Cathedral - Possible, the best and most expressive elements from the entire sculptural design of this giant architectural structure. As for portraits Vitaly (the exception is a bust of Pushkin) and especially portraits of the sculptor S.I. Galberg, then they bear the direct stylization features for ancient hem, poorly caring, according to a fair remark of researchers, with almost naturalistic persons.

Genre jet is clearly traced in the works early deceased students S.I. Galberg - P.A. Stavasser ("Fisherman", 1839, marble, timing) and Anton Ivanova ("Lomonosov's Patterns on the Sea",

Stavasser. Fisherman

1845, marble, timing).

In the middle of the century sculpture, the main - two directions: one, coming from the classics, but who came to dry academism; Another detects the desire for a more direct and multilateral display of reality, it gets spread in the second half of the century, but undoubtedly also the fact that both directions of monumental style are gradually lost.

The sculptor, who in the years of decline of monumental forms managed to achieve significant success in this area, as well as in "small forms", was Peter Karlovich Klodt (1805-1867), author of horses for Narva triumphant gates in St. Petersburg (Arch. V. Stasov), "Tweeders of Konya" for Anichkova Bridge (1833-1850), monument to Nicholas I on Isaac Square (1850-1859), I.A. . Kryona in the summer garden (1848-1855), as well as a big

One of Klodt's horses

the number of animal sculptures.

Decorative and applied art, so powerfully expressed itself in a general single stream of decorative design of the interiors of the "Russian ampury" of the first third of the XIX century, - the art of furniture, porcelain, fabric, - also by the middle of the century loses the integrity and purity of the style.

Painting

The leading direction of architecture and sculpture of the first third of the XIX century was classicism. In painting, he was primarily developed by academic artists in the historical genre (A.E. Egorov - "Study of the Savior", 1814, Timing; V.K. Shebeyev - "The feat of the merchant of Igolekin", 1839, timing; F.A. Bruni- Death Camilla, sisters Horace ", 1824, timing;" Copper Fri ", 1826-1841, timing). But the true successes of painting lay, however, in another row - romanticism. The best aspirations of the human soul, the ups and parish of the Spirit expressed the romantic painting of that time, and above all the portrait. In the portrait genre, the leading place must be assigned Kiprensky Oresa (1782–1836).

Cyprinsky was born in the St. Petersburg province and was the son of the landowner A.S. Dyaconov and serf. From 1788 to 1803, he studied, starting with an educational school, at the Academy of Arts, where he worked in the class of historical painting at Professor G.I. Ugryumov and french painter G.-F. Duyien, in 1805 he received a big gold medal for the picture "Dmitry Donskaya for winning victory over Mama" (MRM) and the right to a pensioner trip abroad, which was carried out only in 1816 in 1809-1811. Cyprinsky lived in Moscow, where he helped Martos in working on a monument to minin and a fire, then in Tver, and in 1812 he returned to St. Petersburg. Years after the end of the Academy and before departure abroad, received by romantic feelings, the highest flourishing of Cyprossky's creativity. During this period, he rotated in the medium of the free-sisted Russian noble intelligentsia. I knew K. Batyushkova and P. Vyazemsky, he posed V.A. Zhukovsky, and in later years - Pushkin. His intellectual interests were also wide, no wonder Goethe, whom Kiprensky portrayed in his mature years, noted him not only as a talented artist, but also as an interesting person. Complex, thoughtful, changeable in the mood - Let us appear before us depicted by Kiprensky E.P. Rostopina (1809, GTG), D.N. Tail (1814, GTG), Chelishchev boy (approx. 1809, GTG). In a free posture, looking to the side, looking carelessly on the stone slab, stands Colonel Labigycapo E.B. Davydov (1809, timing). This portrait is perceived as a collective image of the war hero 1812, although it is quite concrete. The romantic mood is enhanced by the image of the thunderstorm landscape, against the background of which the figure is presented. The flavor is built on the sonorous, taken in full strength of the colors of red with gold and white with silver-in the clothes of the hussar - and on the contrast of these colors with dark tones of the landscape. Opening a different face of the human character and the spiritual world of man, Cyprosensky used various painting opportunities every time. Each portrait of these years is marked with picturesque maestre. Painting is free, built as in the portrait of the tail, on the thinnest transitions of one tone to another, on different lights of color, then on the harmony of contrasting clean large light spots, as in the image of the Boy Chelischev. The artist uses bold color effects affecting form modeling; Pastomian painting will prompt energy expression, strengthens the emotionality of the image. According to the fair remark D.V. Sarabenova, Russian romanticism has never been such a powerful artistic movement as in France or Germany. There is no extreme excitement or tragic hopelessness. In the romanticism of the Cyprinsky there is still a lot from the harmony of classicism, from the subtle analysis of the "twist" of the human soul, so characteristic of sentimentalism. "The century of the current and age of the past", faced in the work of the early Cyprozen, who was held as a creative person in the best years of military victories and rainbow hopes of Russian society, and amounted to the originality and inexpressible charm of his early romantic portraits.

In late, Italian, the period by virtue of many circumstances of his personal destiny, the artist rarely managed to create something equal to early works. But here you can call such masterpieces as one of the best lifetime portraits of Pushkin (1827, GTG), written by the artist in the last period of his stay in the homeland, or portrait of the Avdulina (approx. 1822, timing), full of emacient sadness.

The invaluable part of Cyproshensky's creativity - graphic portraits made in the mainly soft Italian pencil with a seafood pastel, watercolor, colored pencils. He depicts General E.I. Chaplica (GTG), A.R. Tomilova (timing), P.A. Olenina (GTG). The emergence of quick pencil portraits-sketching in itself is significant, characteristic of the new time: any miming change of the face is easily fixed in them, any mental movement. But a certain evolution also occurs in the Kiprensky chart: there are no directness and warmth in later work, but they are virtuoser and exquisite by execution (portrait of S.S. Shcherbatova, IT. Car., GTG).

Sequential romance can be called Pole A.O. Orlovsky (1777-1832), 30 years of those who lived in Russia and bringing the topic to Russian culture, characteristic of Western romantics (Bivuaki, horsemen, shipwreck. "Take your rapid pencil, draw, Orlovsky, Sword and Sich," Pushkin wrote). It quickly assimilated in Russian soil, which is especially noticeable in graphic portraits. In them, through all the external attributes of European romanticism with its rebellion and voltage is overlooking something deeply personal, hidden, intimate (Self-portrait, 1809, GTG). Oryolsky belongs to a certain role in the "triggering" of ways to realize due to its genre sketches, drawings and lithographs depicting Petersburg street scenes and types that caused the famous quatrains of PA, Vyazemsky:

Russia is former, deleting

You pass off the offspring,

You grabbed her alive

Under the folk pencil.

Finally, romanticism finds its expression and in the landscape. Sylvester Shchedrin (1791-1830) began the creative path with a student of his uncle Seeds of generous with classic compositions: a clear division of three plan (the third plan is always architecture), on the sides of the scenes. But in Italy, where he left the St. Petersburg Academy, these features were not repurchased, did not turn into a scheme. It was in Italy, where Shchedrin lived for more than 10 years and died in a heyday of the talent, he revealed as a romantic artist, became one of the best painters in Europe along with Constable and Coro. He first discovered a captive painting for Russia. True, like the barbizons, Shchedrin wrote in the open air only etudes, and completed the picture ("decorated", by his definition) in the workshop. However, the motive itself changes accents. So, Rome in his canvases is not the majestic ruins of ancient times, but a lively modern city of simple people -Enbakov, merchants, sailors. But this everyday life under the brush generrine has gained an elevated sound. Harbor Sorrento, Naples embankments, Tiber at the castle of St. Angel, people who catch fish, simply talking on the terrace or vacationing in the shade of trees, - everything is transmitted in the complex interaction of the light-air environment, in the delicious merger of silver-gray tones, united usually by the blow of red - in clothing, and headdress, in rusty foliage of trees where any one red branch was lost. In the last works of Shchedrin, an interest in black and white effects, foreshadowing the wave of new romanticism Maxim Vorobyov and his students (for example, "View of Naples on the Lunar Night") appeared. Like portraitist Cyprinsky and Battalist Orlovsky, landscape officer Generin often writes genre scenes.

A certain refraction of the household genre found, oddly sounded, in the portrait, and above all in the portrait of St. Andreevich Tropinin (1776 - 1857), the artist, only by 45 years of freeding dependence. Tropinin lived a long life, and he was destined to learn true recognition, even glory, to get the title of academician and become the most famous artist of the Moscow portrait school of the 20s and 30s. Starting from sentimentalism, the truth, more didactically sensitive than the Sentimentalism of Borovikovsky, Tropinin acquires its own image style. In its models there is no romantic gust of the Cypriansky, but simplicity, the idleness, sincerity of the expression, the truthfulness of characters, the accuracy of the household details are brivered in them. The best portraits of tropinine, such as a portrait of a son (approx. 1818, GTG), Portrait of Bulakhov (1823, GTG), marked with high artistic perfection. This is especially visible in the portrait of the son of Arsenia, an unusually sincere image, the liveliness and the immediacy of which is emphasized by skillful lighting: the right side of the figure, the hair is permeated, filled with sunlight, skillfully transmitted master. Gamma colors from golden-ohloous to pink-brown is unusually rich, the wide use of lescing still resembles the picturesque traditions of the XVIII century.

Tropinin in his work goes along the path of imparting naturalness, clarity, equilibrium with simple compositions of the cereal portrait image. As a rule, the image is given on a neutral background with a minimum of accessories. That is how Tropinin A.S. depicted Pushkin (1827) - sitting at the table in a free pose, dressed in a home dress, which emphasizes the naturalness of the appearance.

Tropinin is the creator of a special type of portrait-painting, that is, the portrait in which the traits of the genre are brought. "Laneby", "Hand", "Guitarist", "Gold Summer" -typed images with a certain storyline, who did not lose, however, concrete damn.

The artist contributed to his work to strengthen the realism in Russian painting and had a great influence on the Moscow school - by definition D.V. Sarabaunova, a kind of "Moscow Bidermeer".

Tropinin just entered the genre element in a portrait. An Alexey Gavrilovich Venetsianov (1780-1847) was the real attitude of the household genre (1780-1847). Amermer for education, Venetsianov left the service for the sake of painting, moved from Moscow to Petersburg and became a student of Borovikovsky. The first steps in the "Arts" he did in the portrait genre, creating pastel, pencil, butter amazingly poetic, lyrical, sometimes received by the romantic mood of images (portrait of B.c. Putyathy, GTG). But soon the artist leaves a portrait for the sake of caricature, and for one-minded caricature of "Welject" the first number of the "magazine of cartoons for 1808 in the faces" was closed. The etching of Venetsianova was, in fact, an illustration for Oda Derzhavin and depicted crowded in receptionist, while in the mirror was visible to the venel, which is in the arms of beauty, it is assumed that this is a caricature on the Krafamodko's graph).

At the turn of the 10-20s, Venetsian was left from St. Petersburg to Tver province, where he bought a small estate. Here he gained his main theme, dedicating himself to the image of peasant life. In the picture "Khumno" (1821- 1822, MRM), he showed the work scene in the interior. In an effort to accurately reproduce not only the poses of working, but also lighting, he even ordered to cut one wall of the gum. Life as it is - that's what the Venetsian wanted to depict, drawing peasants for the cleaning of beet; The landowner who gives the task of the courtyard; sleeping shepherd; a girl with a brunch in his hand; admiring the butterfly of peasant children; Scenes of harvest, Senokos, etc. Of course, Venetsians did not open the most acute collisions of the life of the Russian peasant, did not raise the "sick issues" of modernity. This is a patriarchal, idyllic life. But the artist did not make a poetry from the outside, did not come up with her, and her scream in her most depicted with such love of people's life. There are no dramatic strings in Venetsian's paintings, a dynamic plot, they, on the contrary, are static, "nothing happens in them." But a person is always in unity with nature, in eternal work, and it makes Venetianov's images are truly monumental. Is he realist? In the understanding of this word, artists of the second half of the XIX century - hardly. In his concept there are many and from classic ideas (it is worth remembering his "spring. On arable land", GTG), and especially from Sentimentalist ("in the harvest. Summer", GTG), and in understanding them space - and from romantic. And, nevertheless, Venetianov's work is a certain stage on the way of the addition of Russian critical realism of the XIX century, and in this also the incredit meaning of his painting. This determines its place in Russian art as a whole.

Venetcianov was an excellent teacher. School of Venetsianova, Venetsianovents are a whole Pleiad of artists of the 20s and 19th, who worked with him both in St. Petersburg and in his estate Safonkovo. This is A.V. Tyranov, E.F. Krendovsky, K.A. Zelentsov, A.A. Alekseev, S.K. Zarynko, L.K. Plakhov, N.S. Wings and many others. Among the disciples of Venetsian is many people from the peasants. Under the brush of Venetsianians, not only the scenes of peasant life were born, but also urban: St. Petersburg streets, folk types, landscapes. A.V. Tyranov wrote scenes in the interior, and portraits, and landscapes, and still lifes. Venetsianovtsy "Family portraits in the interior" were especially loved - combined the specificity of the images with the details of the narrative, transmitting the atmosphere of the environment (for example, the picture of Tyranchov "Workers' workshop brothers Chernetovsky", 1828, in which the portrait and genre, and still life are combined).

The most talented student of Venetsian is undoubtedly Grigory Soroka (1813-1864), the artist of tragic fate. (Soroka was freed from the serfdom only by reform 1861, but as a result of litigation with the former landowner, he was sentenced to bodily punishment, did not make one thought about it and committed suicide.) Under the brush, Soroki and the landscape of his native Lake Moldino, and all objects In the office of the estates in the islands, and the figures frozen over the stroke of Lake fishermen are transformed, filled with the highest poetry, benevolent silence, but also with a leaning sadness. This is the world of real objects, but also the perfect world imaginary by the artist.

Russian historical painting of the 30-40s developed under the sign of romanticism. "The genius of compromise" between the ideals of classicism and innovations of romanticism called one researcher (M.M. Allenov) Karl Pavlovich Bullov (1799-1852). Glory to Bhorlylov came back at the Academy: Already, ordinary etudes turned into brullov in the finished paintings, as it was, for example, with his "daffissism" (1819, MRM). After graduating from the course with a gold medal, the artist went to Italy. In the Dwitalian works, Bullov appeals to the plots of biblical ("Appearance of the Three Angels of the Three Angels of Mamvrian", 1821, Timing) and ancient ("Oedip and Antigone", 1821, the Tyumen Regional Museum of Local Lore), engaged in lithography, sculpture, writes theatrical scenery, draws Costumes to productions. Pictures "Italian Morning" (1823, Location Unknown) and "Italian afternoon" (1827, MRM), especially the first, show how close the painter approached the problems of the Plenäer. Brullov himself so determined his task: "I covered the model in the sun, suggesting the lighting from behind, so that the face and chest in the shade and reflectically from the fountain lit by the Sun, which makes all the shadows much more pleasant in comparison with simple lighting from the window."

The tasks of the plenary painting thus interested in Bullova, but the path of the artist, however, was lying in a different direction. Since 1828, after a trip to Pompeii, Bryullov is working on its equal work - "Last Day Pompeii" (1830- 1833). The real event of ancient history is the death of the city with an eruption of Vesuvius in 79 N. e. - It made it possible to show the artist to show the greatness and dignity of a person in the face of death. Fire Lava comes to the city, the buildings and statues are crumbling, but children leave their parents; Mother covers the child, the young man saves his beloved; The artist (in which Bryullov depicted himself) takes paints, but leaving the city, he looks wide open eyes, trying to capture a terrible sight. Even in the death of a person remains beautiful, as a beautifully discarded with the chariot, a woman in the center of the composition. In the painting of Bryullov, one of the essential features of his painting was clearly shown: the connection of the classic stylist of his works with the features of romanticism, with which Bhorlylovsky classicism unites faith into the nobility and the beauty of human nature. Hence the amazing "survivability" preserving the clarity of the plastic shape, the drawing of the highest professionalism prevailing over other expressive means, with the romantic effects of pictorial lighting. Yes, and the very topic of the inevitable death, the inexorable rock is so characteristic precisely for romanticism.

As a certain standard, established artistic scheme, classicism largely limited Romance artist. The convention of the academic language, the language of the school, as the Academy called in Europe, was fully manifested in Pompei: theatrical postures, gestures, facial expressions, lighting effects. But you need to admit that Bullels sought to play historical truth, trying to reproduce specific monuments, open archaeologists as close as possible and the whole world, fill the scenes described by Penny younger in a letter to Tacititis. Exposed first in Milan, then in Paris, the picture was brought to Russia in 1834 and had noisy success. Gogol reconsidered him enthusiastically. The value of the works of Bryullov for Russian painting is determined by the well-known words of the poet: "And the" Last Day Pompeii "was the first day for Russian brush."

In 1835, Brullov returned to Russia, where he was met as a triumph. But the historical genre itself was no longer done, for "Osada Pskov, the Polish King of Stefan Batatory in 1581" was not completed. His interests were in a different direction - a portrait, to which he turned, leaving historical painting, like his great contemporary Cyprosensky, and in which he showed all his creative temperament and shine skill. You can trace a certain evolution of the bullov in this genre: from the front portrait of the 30s, the sample of which can even be a portrait of how much a generic image, for example, a brilliant decorative canvas "Horseman" (1832, GTG), where the pupil of the Countess Yu is depicted P. Samoyallova Jovanina Pachchini, it does not accidentally have a generalized name; or portrait Yu.P. Samoilova with another pupil - Amacylia (about 1839, TRM), to portraits of the 40s - more chamber, and a subtle, multifaceted psychological characteristics (portrait of An. Strigovshchikov, 1840, GRM; Self-portrait, 1848, GTG). In the face of the literator Strigovsk, the tension of internal life is read. Fatigue and bitterness disappointment blows from the appearance of the artist on a self-portrait. Sad thin face with astonvatibious eyes, it was powerlessly hung up aristocratically thin brush hands. In these images, a lot from the romantic language, while in one of the latest works - the deep and heartfelt portrait of the archaeologist Michelangelo Lunch (1851), we see that the Bullels are not alien to the realistic concept in the interpretation of the image.

After the death of the brullov, his students often used only thoroughly developed formal, purely academic principles of the letter, and the name of the Bryullov was to endure a lot of houls from the critics of a democratic, realistic school of the second half of the XIX century, first of all V.V. Stasova.

The central figure in painting of the middle of the century was undoubtedly Alexander Andreevich Ivanov (1806-1858). Ivanov graduated from the St. Petersburg Academy with two medals. He received a small gold medal for the painting "Atam, requested from Achilles the Hector's body" (1824, GTG), in connection with which criticism noted the attentive reading by the artist Homer, and a large gold medal - for the work of "Joseph, interpreting dreams with him in the dungeon Vinolrypia and Khlebodar "(1827, TRM), full expression, expressed, however, simply and clear. In 1830, Ivanov leaves Dresden and Vienna to Italy, in 1831 he enters Rome and only one and a half months before the death (he died from cholera) returns to his homeland.

The path of A. Ivanov was never easy, he did not fly the winged glory, as for the "Great Carl." During his lifetime, his talent was valued Gogol, Herzen, Sechenov, but there were no painters among them. Ivanov's life in Italy was filled with work and reflections on painting. Neither wealth, nor secular entertainment he searched, spending his days in the walls of the workshop and on Etudah. Ivanova's worldview had a certain influence of German philosophy, first of all, the Schedule with his idea of \u200b\u200bthe prophetic destination of the artist in this world, then the philosophy of the historian of Religion D. Straus. The fascination of the history of religion led to an almost scientific study of the sacred texts, the consequence of which the creation of famous biblical sketches and appeal to the image of the Messiah appeared. Researchers of Creativity Ivanova (D.V. Sarabianov) are fairly called its principle "the principle of ethical romanticism", that is, romanticism, in which the chief emphasis was postponed from the aesthetic beginning to moral. Passionate faith of the artist in the moral transformation of people, in improving a person looking for freedom and truth, led Ivanov to the main theme of his creativity - to the picture he dedicated 20 years (1837 - 1857), "the phenomenon of Christ to the people" (GTG, the author's version - Timing).

Ivanov went for a long time to this work. He studied the painting of Jotto, Venetsians, especially Titian, Veronese and Tintoretto, wrote a two-year-rate composition "The phenomenon of Christ Mary Magdaline after the resurrection" (1835, GRM), for which the St. Petersburg Academy gave him the title of academician and extended the period of retirement in Italy for three years.

The first sketches of the "Messiah phenomena" refer to 1833, in 1837 the composition was transferred to a large canvas. Further, the work went, which can be judged by the numerous remaining sketches, sketches, drawings, along the specificization of characters and landscape, the search for the total tone of the picture.

By 1845, the "phenomenon of Christ the people" was essentially over. The composition of this monumental, software work is based on a classic basis (symmetry, placement of the expressive main figure of the foreground - John the Baptist - in the center, the bas-relief location of the entire group as a whole), but the traditional scheme is rethought with an artist. The painter sought to transfer the dynamic of construction, the depthness of the space. Ivanov has been looking for this decision for a long time and achieved it because of the fact that the figure of Christ appears and approaches people who take the baptism of John in the waters of Jordan, from depth. But the main thing that strikes in the picture is the extraordinary truthfulness of a variety of characters, their psychological characteristics that inform the amazing reliability of the entire scene. Hence the persuasiveness of spiritual rebirth of heroes.

The evolution of Ivanov in the work on the "phenomenon ..." can be defined as the path from the specific-realistic scene to the monumental-epic web.

Changes in the worldview of Ivanov-thinker, who had occurred over many years of work on the picture, led to the fact that the artist did not finish his main work. But he did the main thing, as Kramskaya said, "he woke the inner work in the minds of Russian artists." And in this sense, researchers are right, saying that Ivanov's picture was the "foresight of hidden processes", which took place in art. Ivanov's finds were so new that the viewer was simply not able to evaluate them. No wonder N.G. Chernyshevsky called Alexander Ivanov One of those geniuses, "who strongly become people of the future, sacrifice ... Truth and, approaching her already in mature years, are not afraid to start their activities again with the dedication of youth" ( Chernyshevsky N.G. Notes about the previous article // Contemporary. 1858. T. XXI. November. P. 178). Until now, the picture remains a real academy for generations of masters, as the "Athens School" of Rafael or the Sequestinian Plafon Michelangelo.

Ivanov said his word in the development of the principles of the Plenuer. In the landscapes written outdoors, he managed to show all the power, beauty and intensity of nature of nature. And the main thing is not to crush the image in the pursuit of an instantaneous impression, in the desire to accuracy the details, and to preserve its syntheticity, such a characteristic classical art. From each of his landscape there is harmonic clarity, whether it depicts lonely drinking, a separate branch, maritime expanses or Pontic swamps. This is a majestic world conveyed, however, in all the real wealth of the light-air medium, as if you feel the smell of grass, hesitation of hot air. In the same complex interaction with the Wednesday, he depicts a human figure in his famous studes of naked boys.

In the last decade, Ivanov has an idea of \u200b\u200bcreating a cycle of biblical-gospel paintings for any public building to portray the plots of the Holy Scriptures in ancient color flavor, but not ethnographically straightforwardly, but exalted-generalized. The biblical sketches (GTG) performed by watercolor biblical sketches (GTG) occupy a special place in the work of Ivanov and at the same time organically completed it. These sketches provide us with new opportunities for this technique, its plastic and linear rhythm, watercolor stain, not to mention the extraordinary creative freedom in the interpretation of the plots themselves showing the whole depth of Ivanov-philosopher, and about his greatest gift of the monumentalist ("Zechariah in front of the angel", "Sleep of Joseph", "Pelting about the Bow", etc.). Ivanov's cycle is the fact that ingenious work and sketches can be a new word in art. "In the 19th century, the century of the deepening analytical splitting of the former integrity of the art into individual genres and individual scenic problems - Ivanov is the great genius of synthesis, committed by the idea of \u200b\u200buniversal art, interpreted as a kind of encyclopedia of spiritual quest, collisions and the growths of the historical self-knowledge of man and humanity. (Allenov M.M. Art of the first half of the XIX century // Allenov M.M., Evangulova OS, Lifshits L.I. Russian art x - early XX century. M., 1989. P. 335). The monumentalist by calling, Ivanov lived, however, at the time when monumental art quickly went on a decline. The realism of Ivanovo forms is little consistent with the asserting art of a critical nature.

The socio-critical direction, which became the main one in the art of the second half of the XIX century, in the 40-50s declared itself in the chart. A undoubted role here played "Natural School" in the literature, associated (very conventionally) with the name N.V. Gogol.

Huge success had an album of lithographic cartoons "Yelash" N.M. Nevakhovich, who, like the Venetian "caricature magazine," was devoted to the satire of morals. On one page of a large format could be placed several plots, often faces were portrait, quite recognizable. "Elash" was closed on the 16th issue.

In the 40s, the edition of V.F. was in great demand. Timma, illustrator and lithograph. "Ours, written off from Nietarya Russians" (1841-1842) - Image of the types of Petersburg Street from Flankers-France to janitors, cabers, etc. Timm also illustrated "pictures of Russian morals" (1842-1843) and performed drawings to the poem I.I. . Matlev about Mrs. Kurdyukova, Provincial Widridge, from boredom traveling in Europe.

The book of this time becomes more affordable and cheapel: The illustrations began to print with a wooden board with large circulations, sometimes with the help of politicia - metal castings. The first illustrations for the works of Gogol - "One hundred drawings from the poem N.M. Gogol "Dead Souls" A.A. Azgin, engraved E.E. Vernadsky; The 50s were marked by the activity of T. G. Shevchenko as a drawrower ("Parable about the Prodigal Son", implancing cruel morals in the army). Caricatures and illustrations for books and magazines Timma and his associates Agina and Shevchenko contributed to the development of Russian genre painting of the second half of the XIX century.

But the main source for genre painting the second half of the century was the work of Pavel Andreevich Fedotov (1815-1852). In just a few years he devoted his painting with his short tragic life, but he managed to express the spirit of Russia for the 40s. The son of the Suvorov soldier, adopted in the Moscow Cadet Corps for the merits of the Father, Fedotov for 10 years served in the Finnish Guards Regiment. Having resigned, he is engaged in the battle class A.I. Cheeperweed. Fedotov began with household drawings and caricatures, with a series of sepii from the life of Fitelka, the Barynina Dog, who has been in a bose and a packed hostess, from the series, in which he declared himself as a satirical sense - the Russian houses of his "caricatyuran" (in addition to the sword - Sepia "Fashion Shop", 1844-1846, GTG; "The artist who married without dowry in the hope of his talent", 1844, GTG, etc.). He studied on Hogarth engravings, and the Dutch, but most of all - at the most Russian life, an open figure of a talented artist in all its disharmony and contradictions.

The main thing in his work is home painting. Even when he writes portraits, it is easy to detect genre elements (for example, in the watercolor portrait "Players", GTG). His evolution in genre painting - from the image of caricature to the tragic, from overload in detail, as in the "fresh cavalier" (1846, GTG), where everything is "sucking": a guitar, bottles, mockery of the maid, even papillos on the head of the bad hero, - To the limit laconism, as in the "Widow" (1851, Ivanovo Regional Art Museum, option - GTG, TRM), to the tragic feeling of meaninglessness of existence, as in his last picture "Anchor, still Ancor!" (about 1851, GTG). The same evolution and in understanding the color: from the color, sounding crawled, through clean, bright, intense, saturated paints, as in the "Major Watch" (1848, GTG, version-timing) or "Aristocrat breakfast" (1849-1851, GTG ), Before the exquisite colors of "Widowers", which betrays the subject matter, as if dissolved in the scattered light of the day, and the integrity of the single tone of its last canvas ("Ancor ..."). It was a way from simple life-making to the implementation in clear, restrained images of the most important problems of Russian life, because what is, for example, "Major's Watching", as not to blame one of the social facts of the life of his time-bugs of impoverished nobles with merchant "cash bags"? And "picking up the bride, written on the plot borrowed from I.A. Krylova (very, by the way, appreciated by the artist), how is not a marriage at the calculation? Or or the impassment of the void of a secular rush, powdering dust in the eye, - in the "Aristocrat breakfast"?

Fedotov's painting power is not only in the depths of problems, in the existence of the plot, but also in the amazing skill of execution. It is enough to remember the full charm chamber "Portrait of N.P. Zhdanovich for Claviersin "(1849, TRM). Fedotov loves a real substantive world, with delight discourages every thing, poeticing it. But this delight in front of the world does not observe the bitterness of what is happening: the hopelessness of the position of "widows", the lie of the marriage transaction, the longing of the officer service in the "bear corner". If Fedotova breaks through Fedotov, then this is the same Gogol "laughter through the invisible to the world of tears." Fedotov graduated from life in the "sorrow house" on the fateful 37th year of life.

The art of Fedotov ends the development of painting of the first half of the XIX century, and at the same time completely organically - due to its social pointedness - the "Fedotovsky direction" opens the beginning of a new stage - the art of critical, or, as more often, they say democratic, realism.

Lyagin Yana

This work introduces us to the art of the XIX century. The art of any time, like a sponge, absorbs the main problems, ideas and views of their time. For Russian art, this circumstance is most significant, since it was always unable to be politicized, then, in any case, it is closely connected with the ideology of the ruling part of society, the reaction of its circles or revolutionary radicals.

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Municipal Competition of Refemement Works Students

Municipal State Community Institution

secondary school with. Slastay.

Full address: Saratov region, Ekaterinovsky district, s. Slast

ul. Working d. 1

Abstract work:

"Russian art in the XIX century"

Grade 10

Head : Sazonova Julia Andreevna,

art teacher.

2013-2014 academic year

Introduction ........................................................................... ... ......... 3

1. Culture of Russia of the XIX century: general characteristic ...............................4

2.Russian art in the XIX century ..........................................................6

2.1 Russian art in the first half of the XIX century - the "golden age of culture" ................................................................................................. 6

2.2 Russian art in the second half of the XIX century ........................... .... 11

Conclusion ................................................................................................15

List of literature used ............................................. ... ....... 16

Introduction

The art of any time, like a sponge, absorbs the main problems, ideas and views of their time. For Russian art, this circumstance is most significant, since it was always unable to be politicized, then, in any case, it is closely connected with the ideology of the ruling part of society, the reaction of its circles or revolutionary radicals.

Purpose of work - analyze the Russian art of the XIX century.

Tasks:

1. The total characteristic of this era;

2. Briefly describe the Russian art of the XIX century in its views.

1. Culture of Russia XIX century: general characteristics

The history of Russian art of the XIX century is customary to share the stages.

The first half is called the golden age of Russian culture. He began to coincide with the epoch of classicism in Russian literature and art. After the defeat of the Decembrists began a new lift of social movement. This instilled the hope that Russia would gradually cope with his difficulties. The country has achieved the most impressive success in these years in the field of science and especially culture. The 1st half of the century gave Russia and the world of Pushkin and Lermontov, Griboedov and Gogol, Belinsky and Herzen, Glinka and Dargomyzhsky, Bryullov, Ivanova and Fedotov.

The fine art of the first half of the XIX century has internal community and unity, unique charm of bright and humane ideals. Classicism is enriched with new features, its strengths are more clearly manifested in architecture, historical painting, partly in sculpture. The perception of the culture of the ancient world has become more historical than in the XVIII century, and more democratic. Along with classicism, the romantic direction is intensive development and a new realistic method begins to form.

The romantic direction of Russian art of the first third of the XIX century has prepared the development of realism in the following decades, for it to a certain extent brought together romantic artists with reality, with a simple real life. It was the inner essence of the complex artistic movement of the entire first half of the XIX century. In general, the art of the named stage is architecture, painting, graphics, sculpture, applied and folk creativity - outstanding, complete peculiarity phenomenon in the history of Russian artistic culture. Developing progressive traditions of the preceding century, it created many excellent works of large aesthetic and social value, making a contribution to the world heritage.

The second half is the time of final approval and consolidation of national forms and traditions in Russian art. In the middle of the XIX century, Russia survived strong shocks: the Crimean War of 1853-1856 ended with defeat. The Emperor Nicholas I died, who climbed the throne, Alexander II, carried out the long-awaited abolition of serfdom and other reforms. Popular in art became Russian theme. Russian culture was not closed at the national framework, was not separated from the culture of the rest of the world.

1. Russian art in the XIX century

The beginning of the XIX century is the time of cultural and spiritual lifting in Russia. The development of Russian culture in the 19th century relied on the preceding time conversion. The penetration of elements of capitalist relations to the economy has strengthened the need for competent and educated people.Public Bibilights and Museums played a positive role in the cultural life of the country (the first public library was opened in St. Petersburg in 1814). Russia developed against the background of an increasing national identity of the Russian people and in connection with this had a pronounced national character.

2.1 Russian art in the first half of the XIX century - the "golden age of culture

The first third of the XIX centuries is called the "golden age" of Russian culture. Interest in domestic history was the reason for the emergence of numerous novels, stories, ballads, leads on various historical topics. The most famous steel novels M.N. Zagoskin (1789--1852) "Yuri Miloslavsky, or Russians in 1612", "Roslavlev, or Russians in 1812", "Kuzma Roshchin",I.I. Lazhechnikova (1792-- 1869) "Ice House", "Last New Year", "Basurman". Even in the names it is clear that these and other works of historical prose considered crisis periods of Russian history: the civilian struggle of Russian princes, Russian liberation wars, political intrigues and events that have, from the point of view of their authors, essential importance. At the same time, political addictions of the authors opposed the fore. For example, M. N. Zagoskin was an obvious supporter of the monarchy, and these views are not manifested in the author's political declarations, but in his heroes, in the descriptions of the elements of life, depending on the personal relationship of characters from the outcome of many historical events. And yet, in the center of all narches, one common idea was concluded, which mostly issued after the war of 1812 and briefly pronounced I.I. Alazhennikov in the preface to the novel "The Last New Year": "The feeling that dominates in my novel, there is love for debris" .

The story in its extreme moments is the content and ingenious "Taras of Bulba" Gogol, the "Captain's daughter" and "Arape Peter the Great" Pushkin, his drama "Boris Godunov", the poems "Poltava" and so many works that they are impossible and transferred.A.S. Pushkin He became a symbol of his era when the rapid takes place in the cultural development of Russia. Pushkin is the creator of the Russian literary language. It has become an impassive value in development only Russian, but also of world culture. He was a singer of freedom and a convinced patriot. The poet bequeathed to descendants: "It's not only possible to proud to proud of my ancestors, but it should ... respect for the last one - here is a feature that distinguishes the formation of wildness ...."

The humanistic ideals of Russian society were reflected in the high-cost-general samples of architecture of this time and monumental-decorative sculpture, in the synthesis with which decorative painting and applied art, which often turns out to be in the hands of the architects themselves. In the architecture of the XIX century. Classicism dominated. The buildings built in this style are distinguished by a clear and calm rhythm, the correctness of the proportions. Significant differences were available in the architecture of St. Petersburg and Moscow. Back in the middle of the XVIII century. Petersburg was the city of architectural masterpieces, drowned in the greenery of the estates and was in many ways similar to Moscow. Then the regular development of the city began along the cuts of his prospectuses, rays from the admiralty. Petersburg classicism is an architecture of not individual buildings, but entire ensembles affecting their unity and harmony. . An important role in the formation of the architectural appearance of St. Petersburg is played by the building of the Admiralty, erected by the projectA.D. Zaharov (1761-1811). Facade of Admiraltyit was stretched at 406 m. In the center it is located a triumphal arch with a high gilded spire, which became one of the symbols of the city.

The largest architect of this timeAndrei Nikiforovich Voronikhin (1759-1814). The main creation of Voronikhina is the Kazan Cathedral, the majestic colonnade of which formed the area in the center of Nevsky Prospekt, turning the cathedral and the environment in the most important town-planning knot of the center of St. Petersburg. In 1813, in the cathedral, M.I. Kutuzov was buried and the cathedral became a kind of monument to the victories of Russian weapons in the war of 1812. Later on the square in front of the cathedral, the statues of Kutuzov and Barclay de Tolly, performed by a sculptorB.I. Oorlovsky. Russian sculpture of the 30-40s of the XIX century. It is becoming more democratic. In the middle of the century sculpture, the main - two directions: one, coming from the classics, but who came to dry academism; Another detects the desire for a more direct and multilateral display of reality, it gets spread in the second half of the century, but undoubtedly also the fact that both directions of monumental style are gradually lost.

The sculptor, who in the years of decline of monumental forms managed to achieve significant success in this area, as well as in "small forms", wasPeter Karlovich Klodt (1805-1867), author of horses for Narva triumphant gates in St. Petersburg (Arch. V. Stasov), "Tweeders of Konya" for Anichkova Bridge (1833-1850), monument to Nicholas I on Isaac Square (1850-1859), I.A. . Kryona in the summer garden (1848-1855), as well as a large number of animal sculpture. The leading direction of architecture and sculpture of the first third of the XIX century was classicism. In painting, he was primarily developed by academic artists in the historical genre (A.E. Egorov - "Study of the Savior", 1814, Timing; V.K. Shebeyev - "The feat of the merchant of Igolekin", 1839, timing; F.A. Bruni- Death Camilla, sisters Horace ", 1824, timing;" Copper Fri ", 1826-1841, timing). But the true successes of painting lay, however, in another row - romanticism. The best aspirations of the human soul, the ups and parish of the Spirit expressed the romantic painting of that time, and above all the portrait. In the portrait genre the leading place should be assigned to the Cyprinen Oresa (1782-1836). The test part of the Cyprosk creativity is graphic portraits, made in the mainly soft Italian pencil with a saving pastel, watercolor, colored pencils. He depicts General E.I. Chaplica (GTG), A.R. Tomilova (timing), P.A. Olenina (GTG). The emergence of quick pencil portraits-sketching in itself is significant, characteristic of the new time: any miming change of the face is easily fixed in them, any mental movement. But a certain evolution also occurs in the Kiprensky chart: there are no directness and warmth in later work, but they are virtuoser and exquisite by execution (portrait of S.S. Shcherbatova, IT. Car., GTG).

Sequential romance can be called PoleA.O. Orlovsky (1777-1832), he quickly assimilated in Russian soil, which is especially noticeable in graphic portraits. In them, through all the external attributes of European romanticism with its rebellion and voltage is overlooking something deeply personal, hidden, intimate (Self-portrait, 1809, GTG). Oryolsky belongs to a certain role in the "triggering" of ways to realize due to its genre sketches, drawings and lithographs depicting Petersburg street scenes and types that caused the famous quatrains of PA, Vyazemsky:

Russia is former, deleting

You pass off the offspring,

You grabbed her alive

Under the folk pencil.

The first half of the XIX century. marked by the flourishing of Russian music related, first of all, namedMikhail Ivanovich Glinka(1804-1857), which entered the story as the first Russian composer of world importance. M.I. Glinka is considered the founder of Russian classical music. His operas "Life for the king" and "Ruslan and Lyudmila" largely determined the further development of Russian opera music for many decades ahead. A distinctive feature of the creative approach of the composer was to use the motives of Russian folklore, folk music. He wrote a glint and romance. A significant contribution to the development in Russian musical culture made contemporaries GlinkaA.A.Alabyev, A.E.Vlamamov, A.L.Gurlev, famous today, mainly as the authors of Romance.

A.A. Alyabyev. A.L.Gurlev A.E.Vlamov

2.2 Russian art in the second half of the XIX century

Conditions for the development of culture in the second half of the 19th century.

The second half of the XIX century. - the time of final approval and consolidation of national forms and traditions in Russian art. In the middle of the XIX century. Russia experienced strong shocks: the defeat ended the Crimean War of 1853-1856, Emperor Nicholas I died, who climbed the throne Alexander II carried out the long-awaited cancellation of serfdom and other reforms. Popular in art became Russian theme. Russian culture was not closed at the national framework, was not separated from the culture of the rest of the world. Achievements of foreign arts found a response in Russia. In turn, Russian culture received worldwide recognition. Russian culture occupied an honorable place in the family of European cultures.

Fine art could not remain aside from the processes that took place in the public consciousness. The State Tretyakov Gallery in Moscow is one of the largest meetings of Russian visual arts, the world-famous National Cultural Center. The museum is the name of the founder - Moscow merchant P.M.Tretyakova (1832-1898), who presented its picture gallery in 1892, as well as a small collection of brother and the house, which in 1881 opened for visitors.

At this time, Russian artists reached such a level of skill, which put their works in one row with the best examples of European art. The current is based on the ideas of critical realism. One of the first masters of this area was Vasily Grigorievich Perov (1833-1882). His genre works ("Rural Travel in Easter" of 1861, "Wires of the Deader" of 1865, Troika 1868) are the sorrowful stories of the life of a simple people set forth in the language of painting.

Unprecedented heyday reached a landscape. Landscape painting turned into one of the advanced areas of artistic creativity, this genre was raised to a new height. Expressive funds were improved, the technique developed. Landscape II Half XIX is no longer just an image of the "species of landscapes", and painting, through the images of nature, transmitting the finest movements of the human soul. The greatest masters of the landscape in Russia were A.K. Savrasov ("Gracchi flew" of 1871), I.I. Chishkin ("Sosnovy Bor" 1873, "Rye" of 1878), A.I.Kounezhi (" Birch grove "1879," Moonlight on the Dnieper "1880), V.D. Polenov (Moscow Dvorik, 1878), I.I. Lemitan (" Evening "1892," Spring. Big Water "1897), K.A. Korovin (" Winter "1894" Paris. Capuchin Boulevard "1906).

The vertices are realistic art II half of the XIX century. reached in creativityI.E. Pepina and V.I. Surikova. Historical painting found its highest expression in the work of Vasily Ivanovich Surikova (1848-1916). In the history of the artist, people were most interested in: People's Mass and Strong Bright Persons.

The first work that brought V.I. Surikov to Glory, "Morning Strelletsky execution" (1881). The composition is built on contrast: grief, hatred, the suffering embodied in the figures of the shooters going to the death and their loved ones, are opposed to the squeezing on horseback, a stone frozen in the distance.

In addition to V.I. Surikova paintings on historical topics wrote V.M.vasnetsov. The image of history in his works has a tangible epic, fabulous shade: "After going to Igor Svyatoslavich with Polovtsy" (1880), "Alenushka" (1881), especially the brightly compound of the epic and history manifested itself in the grand canvase "Bogatyry" (1898 G.).

In 1898, a new artistic association was founded in St. Petersburg, the named"World of Art" . Artist's artist stood up at the head of the circleA.N. Benua and Messenat S.P. Dyagilev. The main core of the association wasL.S. Bakst, E.E.Lesser, K.A. Osov. The "World of Art" arranged the exhibition and published a magazine under the same name. The union included very many artists:M.A.Vrubel, V.A.Serov, I.I. Levitan, M.V.nesterov, A. P. Ryabushkin, N.K. Ryrich, B.M. Kustodiev, Z. Serbryakova, K. S.Petrov-Vodkin. Miriskussniks defended freedom of individual creativity. The main source of inspiration was recognized as beauty. The modern world in their opinion is deprived of beauty and therefore instead of attention. In search of beautiful artists of the "World Peace" in their works often turn to the monuments of the past.

Also the second half of the XIX century. - This is a period of outstanding achievements of science and technology. Chemistry, physics, geography, biology develop ...

The development of natural sciences, the wide connections of Russian scientists with Western testified of a sufficient location in Russia in the world community.

Conclusion.

russian sachets your painting architecture

The art of the XIX century can be compared with a multicolor mosaic, where each stone takes its place, has its meaning. So it is impossible to remove any, even the smallest, without violating the harmony of the whole. However, in this mosaic there are stones the most valuable, emitting particularly strong light.

Throughout the centuries-old history, Russian art was experiencing significant, sometimes indigenous changes: it was enriched, complicated, improved, but always remained original.

Russian architecture, visual, folk and applied arts testify to the invaluable contribution, which introduced our people to the treasury of domestic and world artistic culture.

The XIX century, perhaps, the most difficult and interesting period in the history of Russian art. This era gave rise to a brilliant creativity A.S. Pushkin, folk and all-life, full dream of freedom. This is a period of flourishing of spiritual culture: literature, philosophy, music, theater and visual art.

Bibliography.

1.Ilina T.V. Art history: domestic art. Tutorial / TV. - M.: Higher School, 2007. - 407 p.

2. Schoolboy's full reference book 5-11 classes (2 volume). E.V. Simonova.